


AMBITION ( Season 2 )

by esther0103, quincywillows



Series: pour myself a cup of ambition [4]
Category: AMBITION (Series), Girl Meets World
Genre: AMBITION SEASON 2 Y'ALL HOW WE FEELINGGG, Additional Warnings In Author's Note, Dancing and Singing, Episode Style, F/M, M/M, Mental Health Issues, Musical References, Performing Arts, Slow Burn, genuinely i am so sorry if this is a burden to you. genuinely i am, here we go go go again, i just want our tiny fandom to have their tags... that's all i'm tryna do, structured like a TV show... in case y'all missed that the first time around, tag wranglers: not you again... not you, thank u for ur service
Language: English
Status: Completed
Published: 2019-10-18
Updated: 2020-03-21
Packaged: 2020-12-21 09:07:10
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 17
Words: 236,021
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/21072386
Author URL: https://archiveofourown.org/users/esther0103/pseuds/esther0103, https://archiveofourown.org/users/quincywillows/pseuds/quincywillows
Summary: A new academic year at the coveted Adams Academy for the Arts promises to be a challenge. While the odd administrative couple of Principal Jack and counselor Eric endeavor to return the junior class to a healthy equilibrium, the talented but tumultuous students have plans of their own. New voices aim to enter the spotlight, but others must bow out to make room. New friendships and relationships are ready to bloom, but old reliable bonds may bend in the process. The winds of change are shaping up to be a hurricane, but not everyone may endure the storm.And as the student body tends to forget, a world exists out there beyond AAA. What influence does a former diva starlet have when she decides to pay a visit? Do actions have consequences, and will those choices attract the attention of forces far more troubling than a disappointed chat with a school administrator? If your entire world exists within the walls of AAA, what are you supposed to do when that world falls apart? The future is looming just outside the dwindling years of shelter in Adams, and grappling with what happens next is easier dreamt than done.But, even in the darkest of times, the show must go on… right?





	1. Author's Note -- Welcome Back to AAA!

**Author's Note:**

  * Inspired by [AMBITION ( Season 1 )](https://archiveofourown.org/works/19044916) by [esther0103](https://archiveofourown.org/users/esther0103/pseuds/esther0103), [quincywillows](https://archiveofourown.org/users/quincywillows/pseuds/quincywillows). 

Greetings, dear readers!

Wow. Here we are, embarking on another season of _ AMBITION_. Although my co-creator Es and I had planned out S2’s arc before we even sat down to write out S1, it feels surreal to be here sharing it with all of you. We hope you had a blast and a half with the first season, and we really do think there’s a lot in store for us to enjoy and pick apart and have fun with coming around the bend in the second season. It’s bigger, it’s better — it’s season two!

That being said, we also wanted to take a moment here to be frank about the content of this season. **This season of AAA is admittedly heavier than the first,** and although we feel strongly about the narrative choices we’ve made and that they’re best for the characters and the story, we know that certain topics can be emotional and overwhelming.

So we are going to do our best to give you all the appropriate warnings as they come up in each episode (per author’s notes!), but we also want you to take care of yourselves first and only handle what you feel comfortable handling. We’re not doing anything that you couldn’t get away with on network TV, but we definitely want to be clear about it so that all of us are feeling on the same page and the read still feels enjoyable rather than unexpectedly triggering.

However, since we’re still “airing” this like a TV show, **we are planning to apply warnings to each chapter individually** rather than the overall work as a whole. So keep your eyes peeled as we make our way through the season, and we’ll do our best to be candid about what you might be getting into each week.

Otherwise, low points aside, I’m really proud of what me, Es, and the _ AMBITION _ team have created for this upcoming season. There’s character development, humor, angst, love, further exploration of the dynamics and world that we’ve grown to love and of course, lots more performing arts tomfoolery. So put in your headphones, be sure to [follow the playlist](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=lr2HVAoIRNumBDGYtXpwpQ), and let’s get this show on the road!

A couple other additional notes — this season, we are planning to release episodes every **Friday**, with a couple gaps here and there. You can find the full season schedule on our new source blog on tumblr, ** [ambitionsource](ambitionsource.tumblr.com/)**, where we’ll also interact with y’all and do other important events and updates (as we’ve been doing to get through the “hiatus” haha). So be sure to check that out!

Now… as the curtain rises on season two… with the heartiest of heidy-hos…

Maggie ♥


	2. Previously On AMBITION

_ **Previously on AMBITION:** _

Last season, **Riley Matthews** entered the fast-paced world of Adams Academy of the Arts. Coming off a particularly difficult freshman year involving bullying, Riley hoped to make the most of her new home at this institute for the arts, but the task was far easier said than done.

The students in the sophomore A class were essentially at war, the talented but demanding performers running the smaller but tight-knit cohort of student technicians into the ground until they said no more. The divide was only heightened by the romantic and historical tension between performance coach **Angela Moore ** and lead technician **Shawn Hunter**. It was no surprise that head faculty and authoritative principal **Jack Hunter **seemed so frazzled on their first day back.

But Riley is nothing if not a problem-solver, and she could use the distraction from the way her parents’ marriage was falling apart before her eyes. So she endeavored to bridge the gap, using intel and support from her uncle and school psychologist **Eric Matthews ** to better understand the interesting swath of her fellow students in the A class. She formed a quick and grateful friendship with popular star dancer **Zay Babineaux, ** but the other known divas **Maya Hart ** and **Farkle Minkus ** were less easy to win over. And the element of her charming but confusing classmate **Charlie Gardner **didn’t help matters, as she couldn’t tell whether he was a genuine friend, or simply trying to get with the new girl.

So she changed tracks, setting her sights on the mysterious techie crew. While **Isadora De La Cruz ** was the known face of the techie operation with her impressive vision and refusal to be overlooked -- even at five feet tall -- the true key to peace laid with winning over the supposedly unbearable troublemaker **Lucas James Friar**. If he could be swayed, then the rest of them -- including his most loyal lieutenants **Asher Garcia ** and **Dylan Orlando** \-- would follow.

As the efforts to change the tides unfolded and the world turned upside down, it quickly became clear there was much more going on than meets the eye. While Farkle appeared to be an impossible barrier, a struggle to be seen at home and a feeling of loneliness proved that perhaps the simplest cure to an immovable object is not force, but friendship. Although Isadora held disdain towards the performers and everything about it due to an absent starlet mother known around the world as **Valerie De La Cruz**, her own interest in performing and an undeniable talent grew harder and harder to bury down deep. Zay’s own sense of loneliness in spite of his popularity found relief in an unexpected place -- the friendship of Catholic goody-two-shoes Charlie, who definitely needed a little bit of fun. And underneath Lucas’s defensive exterior built up from a lifetime of being in survival mode, Riley found a loyal and gentle soul that she can’t define as anything other than good.

The true cog in the machine was not one another, but the facades people used to protect themselves -- which took a tangible form in the Instagram confessions page known offhandedly as **AAAC. **While Jack and Eric frantically attempted to narrow down the moderator of the page that allowed every junior student to say whatever the hell they pleased about one another with no consequences, the slowly mending junior A class faced the pressure of the most important audition of the year. The elite Kossal Summer Program only comes around once a year, and only sophomores are allowed the chance to audition for the summer camp that has only churned out performer greats in its history. When Riley shuffled things around and bumped Farkle out of one of three AAA audition spots, it triggered an inevitable diva meltdown that was sent to AAAC under the guise that it would be posted anonymously so Farkle could get out his anger but continue to live in relative peace. As they all had been doing for months, without further consequence.

Only the AAAC had other plans. As the walls closed in and Jack and Eric crept closer and closer to the truth, the moderator of the page planned their grand finale. And everything that happened in the mean time -- Charlie revealing that his interest in Zay went further than simply friendship with a feverish kiss behind the scenes of a damningly good Kossal audition that Zay eagerly returned; Riley and Lucas seemingly bridging the performer-techie gap -- and taking down the defensive walls between them with a kiss and a secret handhold in the back of principal Jack’s car -- for good with their turn as representatives at the elite Jacobs Art Gala; Farkle putting down his weapons in surrender and confessing to his tentative best friend Maya that he doesn’t want to be alone to achieve the all-consuming dream -- was shattered when the meltdown video was posted in full, without anonymity, and sent the rising junior A class into destruction with one foul swoop. And **Chai Fresco **got away with it, departing for a year long study abroad in London and getting to avoid the aftermath of her final move as the AAAC.

So the culture at AAA might very well be worse than before, and Jack and Eric face a daunting task in putting the school back together again. And even if the school can be salvaged, perhaps the same can’t be said for relationships… reputations… or the ability to live with what you’ve done…

But in real life there are no rehearsals. And every choice has a consequence, as the junior A class is certain to learn as another year at Adams unravels.

Even still, the show must go on...


	3. Episode Listing

** _AMBITION_ **

**Season 2 Episode Listing**

* * *

**[ 2.01 ] “Callbacks” //** THE SHOW MUST GO ON – A new year at AAA promises new troubles on top of the chaos left behind from the last. Angela’s replacement meets the junior class. While some students aim to embrace the change, others may never make it back through the doors.

**[ 2.02 ] “Second Choice” //** TAKE YOUR PICK – The faculty organizes another duet week in an effort to bridge the student divides, but a change in rules creates more problems than solutions. Isadora gets a lesson in honing her inner diva. Harper and Shawn butt heads over how to handle the junior class.

**[ 2.03 ] “Are We Out of the Woods” //** WRONG THINGS, RIGHT THINGS – Disaster strikes rehearsals for the fall musical when a major vandalism throws everyone off schedule. As the junior class points fingers at prime suspects, Riley and Isadora attempt to clear a good friend’s name. Although only one student is responsible for the crime, more than one of them is lying.

**[ 2.04 ] “Valerie De La Cruz” //** MOTHER KNOWS BEST – A guest appearance by Isadora’s starlet mother throws AAA into disarray. As Jack attempts to maintain control with a full plate, Valerie encourages the students to channel their current woes into more authentic performances. But lighting a match in dry woods might just set the whole forest ablaze.

**[ 2.05 ] “Cold Comfort” //** ON THIN ICE – The holiday season brings less cheer than usual as reality settles in with the winter. New traditions replace the old. Invitations to the Matthews’ annual holiday party are extended to all, but a select few are left out in the cold.

**[ 2.06 ] “Trapped” //** NOWHERE TO HIDE – Forced together for a group assignment, a surprising collection of students find themselves locked in the school as a snowstorm hits Manhattan. Emotions bubble to the surface when there’s nowhere to run. Farkle makes an overdue apology. Lucas finally lets go.

**[ 2.07 ] “Contingency Plan” //** JUST IN CASE – In preparation for the looming pressure of senior year, Eric meets with each junior for a mandatory check-in. Unwanted attention sheds light on areas of weakness. Contents under pressure can only bend so much before they break.

**[ 2.08 ] “Got A Lotta Livin’ To Do” //** YOUTH IS WASTED ON THE YOUNG – Devastating news sends the junior class reeling. When decisions are made for all the wrong reasons, everybody must face the consequences. Eric is haunted by signs he may have missed.

**[ 2.09 ] “World Uncertain” //** SPRING CLEANING – The juniors are forced to confront the ramifications of their actions while navigating shaky ground. Valerie comes to New York to spend the break with Isadora, although she may be carrying deeper intentions. Winter melting into spring allows for the chance to begin again. 

**[ 2.10 ] “Rarely Pure and Never Simple” //** HONESTY, HONESTY – A return to Adams necessitates honest conversation. The junior class is encouraged to confront their emotions, an unusual advocate leading the movement. Blatant bruising send rumors swirling and classmates warring for a reluctant recipient.

**[ 2.11 ] “We'll Be the Stars” //** A NIGHT TO REMEMBER – Tensions are set aside in honor of a promenade, and some students opt for a change of pace. A clever ruse forces Eric and Jack to team up. Unfortunate circumstances make for odd couples, but stars always know where they’re supposed to go.

**[ 2.12 ] “Final Run” //** CURTAIN CALL – The complications surrounding Lucas’s presence at Adams reach a climactic pitch. Jack makes one last desperate maneuver. Riley and Isadora orchestrate an opposition, but true help comes from an unlikely ally. Someone says goodbye to AAA.

**[ 2.13 ] “The Sun Will Rise” //** WHAT HAPPENS NEXT – News of Valerie brings Isadora and the group across the continent to Los Angeles. Wounds begin to heal, and lucky happenstance presents compelling new opportunities. Reflecting on all they’ve endured, the junior class looks towards senior year and begins to ponder what happens next.


	4. Callbacks [ 2.01 ]

**Summary for the Chapter:**

> THE SHOW MUST GO ON – A new year at AAA promises new troubles on top of the chaos left behind from the last. Angela’s replacement meets the junior class. While some students aim to embrace the change, others may never make it back through the doors.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**INT. BABINEAUX HOME - ZAY’S ROOM - DAY**

We’re close on a phone, laying on the surface of a vanity dresser. The screen lights up, displaying a notification from Instagram. The moment does give us a bit of _AAAC_-induced PTSD, but it’s innocuous – **“wholemayahartedly liked your photo.”**

Underneath the notification, a reminder sits waiting. **“Welcome back to AAA.”**

As the clock hits 7:00AM, an alarm begins to go off, but the owner is already awake. A hand reaches out to quickly swipe away the alarm, and ZAY BABINEAUX returns to our screens once again. He’s already geared up for the day, looking fresh and cool as ever.

He glances at himself in the mirror, adjusting his hair and rolling his shoulders before letting out a sigh. Welcome back, indeed. As jaunty, cool beats float in…

* * *

**Song Cue ♫ ♪ “New Shoes” as performed by Paolo Nutini || Performed by Zay Babineaux**

As Zay gears up to head out for the day, he sings and freestyles to this easy-going tune. After so long without his impressive dance moves, it sure is good to see them again.

**INT. BABINEAUX HOME - DAY**

Zay continues his journey out the door, sliding down the banister and landing with a flourish. He breezes through the house, grabs some fruit from the counter. He greets his parents, OMAR BABINEAUX with a nod and DONNA BABINEAUX with a kiss on the cheek.

He makes his way out the front door…

**EXT. NEW YORK STREETS - DAY**

And emerges from the subway, continuing his stylings down the streets of Manhattan. He performs with confidence, comfort, the visuals a far cry from his more somber explorations of the city in 1.06.

Finally, he approaches the familiar institution of AAA.

**INT. AAA - HALLWAY - DAY**

Zay travels through the halls as he descends into the second verse, slowing down a bit as he takes stock of the setting in the new year. Despite all that’s happened here, it looks about the same as it did last year. He nods to friends as he passes, carrying a new sense of power as the reigning recipient of the Kossal Summer Program.

More familiar faces begin to join in on the choreography through the hallway – NIGEL CHEY, YINDRA AMINO, HALEY FISHER and CLARISSA CRUZ. Zay dances with each of them, moving us through to the bridge…

**INT. AAA - AUDITORIUM - DAY**

Zay is showing off his freestylings on the AAA stage, suddenly alone again. The spotlight is on him and the number is clearly a performance, but it’s unclear for whom and why. Either way, he shines as he completes the routine, running through the final chorus with energy and obvious talent.

* * *

When he finishes, breathless and squinting into the lights, there are no applause. No standing ovation. Just quiet, save for the quiet scribbling of pens on paper. It’s clear there’s a panel of some kind seated in the back of the auditorium, but no other information.

Then, a familiar voice through the darkness:

> **Eric: **Thank you, Zay. We’ll let you know.

Zay exhales, offering a tight smile and nodding a thank you. As he turns to exit the stage, his confident exterior falters somewhat.

_What_ will they let him know? _Who_ will let him know it? What the knick knack patty whack is going on, chief?

Another year, another jampacked adventure. Welcome back to Adams, indeed.

** _Cue opening titles._ **

**INT. AAA - HALLWAY - DAY**

Through the scope of an A/V club camera, DAVE WILLIAMS eagerly welcomes back the junior class as he and NICK YOGI, behind the camera, kick off the back-to-school cheer. Standing outside the doors to the black box theater, Dave waits for a cue from Yogi. 

> **Dave:** Is it – are we ready? Are you rolling?
> 
> **Yogi:** It’s rolling.
> 
> **Dave:** There’s no like – shouldn’t there be a light? Blinking or something?
> 
> **Yogi: **Just trust me, it’s rolling.
> 
> **Dave:** You know I trust you with my life.
> 
> **Yogi: **And me, you. It’s David and Goliath, baby.
> 
> **Dave:** It’s David and Goliath! Welcome back, AAA thotties, to the thunderdome.

Yogi explains that he and Dave are endeavoring to reinstate the A/V club to its former glory, and part of this task involves getting the scoop before anyone else. So they’ll be going around and catching up with their classmates after the disastrous way that last year wrapped up, offering what they refer to as “Dogi Exclusives.”

The whole sequence is a bit jarring considering Yogi is filming and Dave is a whole foot taller than him, but they make it work. And boy, do they certainly have some exclusives.

* * *

**Song Cue ♫ ♪ “Shining Star” as performed by Jump5 || Instrumental**

As the quick-paced montage kicks off, Dave and Yogi pursue Zay first. They follow him as he parades through the halls with his new level of confidence. He claims that his summer break was excellent, completely fulfilling in every possible way.

Although Dogi want to dig deeper on that, their questioning is interrupted by the trio of them running into MAYA HART. She looks even more polished than last year, radiating diva and her envy-worthy blonde locks as shiny and voluminous as ever. She and Zay exchange a quick, snappy handshake, indicating they’ve become better friends in the time we’ve spent away.

The two of them state that this year is going to be unlike any other, and all the bullshit from last year is completely irrelevant.

> **Dave:** And all the stuff from the _AAAC_ –
> 
> **Maya:** Old news.
> 
> **Zay:** The drama? The fakeness?
> 
> **Maya:** Farkle Minkus?
> 
> **Zay: **Gone. Caput.
> 
> **Dave:** What about the fact that you’re on scholarship –
> 
> **Maya: **Here’s what you need to focus on, Davis. Nothing that parasitic pinnacle of a page had to say means anything. And we’d all be wise to forget about it, because there are far more interesting things for us to be focused on this year.

When Dave and Yogi ask for elaboration, all that Maya will say is that there may very well be a new diva rising through the ranks in the junior class. Not above her or Zayby, of course, but someone with a lot of starpower is going to make Minkus more irrelevant than he already is.

An interesting promise…

**INT. AAA - AUDITORIUM - DAY**

In the auditorium, Dave attempts to interview RILEY MATTHEWS. She’s more soft-spoken and reserved than last year, obviously hesitant as she talks with them. All that growing from the previous year, and for what…

She glances over her shoulder towards the technician’s booth as Dave asks her another question, growing pensive and distracted. 

> **Dave:** Riley. Riley. Superklutz. _Riley_.
> 
> **Riley: **_[ blinking out of it ]_ Sorry, um, what was the question?

**INT. AAA - HALLWAY - DAY**

Dave convenes with his techie pals ASHER GARCIA and DYLAN ORLANDO, both looking fresh and friendly upon their return from summer. As he attempts to talk with them about how they spent their break, Asher keeps having to interrupt Dylan to keep him from saying things it seems he’s not supposed to mention.

> **Dave:** So how did you spend your summer?
> 
> **Asher:** Oh, nothing much. Went to the museums a couple times.
> 
> **Dylan:** Asher’s underselling. Summer was a hoot. We did so much wild stuff, man. _[ Laughing. ]_ One day we met Lucas at grand central market and he made up this game where we –
> 
> **Asher:** Really. Nothing much at all.

**INT. AAA - HALLWAY - DAY**

Across the hall, Dave attempts to interview CHARLIE GARDNER in front of his locker. Although he seems to be doing a fair amount of damage control, for what it’s worth his outward appearance seems more relaxed than sophomore year.

He’s softened his attire to less straight-laced and more casual for his standards – nice sweaters and plain tees. His hair has grown out over the summer, trimmed for back-to-school yet still more wild and free than before.

Exterior mellow aside, as he talks to Dave and Yogi he appears a bit shifty. He comes off like a politician rather than a peer, rehearsed and vague. Expert at avoiding confrontation.

> **Charlie:** I’ve done a lot of self-reflection this summer, and I realize that sending those posts was the wrong decision. Those were the actions of someone who I do not wish to be, so I’m trying to do better and make up for those mistakes.
> 
> **Dave:** But why did you do it?
> 
> **Charlie:** I think what’s more important is how we move forward.

Charlie offers a thin smile. Dave gives the camera a look.

**INT. AAA - HALLWAY - DAY**

Back with Asher and Dylan. Yogi poses a new question.

> **Yogi:** Speaking of Lucas, no one has seen him this morning for an illustrious comeback. Any idea where he is?
> 
> **Dylan:**_ [ with a snort ]_ Do _we_ have any idea where he is? Our best friend –
> 
> **Asher:** _[ hurriedly ]_ Nope, haven’t seen him.

**INT. AAA - HALLWAY - DAY**

Dave has to jog to keep up with the power walk of ISADORA DE LA CRUZ. She looks as fierce as ever, wearing her usual attire of ripped jeans (ripped not for fashion’s sake, but because they’ve been completely worn through) and a dark tee shirt sporting a reference to a film of some sort. The look is completed of course with Converse, although we note that she’s wearing a new pair of yellow high tops rather than her usual old black pair. Presumably a gift from someone (mayhaps a starlet mother?), since Isa isn’t inclined to spend her money on clothes.

Yogi asks if she’s worked on any short films over the summer, and she retorts that she actually spent more time focusing on her performance chops for this year. This is a _bombshell_ revelation – Isadora De La Cruz is going to take the _stage_! – and Dave and Yogi are shook.

> **Dave:** Breaking news!
> 
> **Yogi: **You heard it from Dogi FIRST!

Isadora doesn’t seem interested in humoring them further. Dave shouts one more question after her as she marches away, lucky that she turns around to gift them a snarky answer.

> **Dave:** So where’s Lucas?
> 
> **Isadora: **Do I look like his keeper? Hell if I know.

**INT. AAA - AUDITORIUM - DAY**

Jumping back to Riley, Yogi asks Riley what she’s most excited about for the new year. She takes a long pause, evidently at a total loss for how to answer. She finally manages to stammer out a vague sentiment. 

> **Riley:** I’m mostly looking forward to everyone… coming back together. And um, renewed camaraderie.
> 
> **Yogi: **_[ with a laugh ]_ Yeah, right.

Riley doesn’t seem thrilled with his dismissive comment.

**INT. AAA - HALLWAY - DAY**

Back to Dylan and Asher. They’ve gotten distracted, Asher focusing on nitpicking Dylan’s jacket collar while Dylan attempts to divide his attention between his boyfriend and the question at hand.

> **Yogi:** So with Alvin out of commission, how are the two remaining chipmunks functioning then?
> 
> **Dave: **Yeah, how are things going for you two?
> 
> **Dylan, enthusiastically:** _[ snapping to attention ] _Oh, are you kidding? Things are great. We’ve had the best summer.
> 
> **Asher, agreeably:** Not wrong.
> 
> **Dave: **_[ to the camera ]_ Dogi can confirm: “Dasher” are alive and well.
> 
> **Dylan:** We’re _thriving_, good sir. I can tell you, _as_ a kissing expert –
> 
> **Asher:** Oh boy.
> 
> **Dylan:** Never been better. In fact, this summer we made some _major_ strides –
> 
> **Asher:** _[ covering Dylan’s mouth, dragging him away ] _OKAY so we really have to go now, nice chatting with you Dave –

**INT. AAA - HALLWAY - DAY**

Back outside the black box theater, Dave summarizes their video and prepares to wrap it up.

> **Dave:** So as you can see, lots of tides shifting here in the bonkers halls of Triple A. Whether or not good ol’ Principal Cracker Jack and our faculty fave Mister E will be able to pull this clusterfuck back together remains to be seen.
> 
> **Yogi:** And whether Mister Shawn will be able to handle a new first-in-command.
> 
> **Dave:** Oh, yes, we are all eagerly awaiting to see which poor soul is going to attempt to fill the late and great Miss Moore’s large and _insanely_ hot shoes.
> 
> **Yogi: **Press F to pay respects.
> 
> **Dave, solemnly:** F.

Which poor soul indeed? It will take a brave, ambitious warrior to tackle the monster that is the junior A class…

* * *

**INT. AAA - JACK’S OFFICE - DAY**

And that warrior takes a human form in HARPER BURGESS (26). She’s petite and baby-faced, an eager smile on her face as she finishes signing last minute paperwork for her employment. But don’t let her size be deceiving – underneath the leather jacket and driven sparkle in her eyes is the fiery personality of a former AAA alumna returning to the homestead after being forged to steel in the real world.

She passes the finished papers across the desk to JACK HUNTER, who takes them happily. Given how run ragged he appeared at the end of last season, it is a relief to see him seemingly well and back on top of things. Polished as usual, in any case.

Jack congratulates Harper and welcomes her to the AAA team, both of them rising as he shakes her hand. He reiterates a fair warning that the junior class is no easy group, but Harper expresses optimism that she can handle it. After all, she was once a student just like them.

> **Harper:** I survived my four years at this school fighting for my scrap of the spotlight, Jack. I think if I can do that, then I can survive just about anything.
> 
> **Jack:** Well, believe me when I say this crop of students isn’t quite like any other.

Still, he admires her optimism, and sends her off with the assurance that he also believes she will do an excellent job. As she heads out she bumps into ERIC MATTHEWS, who gives her a playful salute.

> **Eric:** Welcome to the force, soldier.

Harper awkwardly returns the salute, trying her best to adjust to this new team of oddballs as efficiently as possible. Eric waits until she departs to shift his focus, questioning if Jack still wants to go over their game plan for the first week. He figures it would be good to double check that they’re both on the same page.

Jack enthusiastically agrees, gesturing Eric in and grabbing his coffee thermos. As Eric settles in the chair opposite his desk, we get the sense that the two administrators have done a lot of collaborating over the summer. They demonstrate a comfortable new rapport, definitely closer to being on the same wavelength than last year.

It’s also clear, for what it’s worth, that Eric is enjoying their dual efforts. He listens intently as Jack speaks, a light smile on his face as he flips through his notes. Jack paces the floor, walking through their thought process with zeal.

> **Jack:** All of the students enrolled here are talented, there’s no doubt about that. Even the junior class specifically, I’ll say, has some of the brightest students I think we’ve had at Adams. They are not short of starpower.
> 
> **Eric: **Certainly not.
> 
> **Jack:** But the behavior we’ve witnessed over the last couple of years is unacceptable, and it reached a fever pitch in May. There’s no excuse for that sort of culture, and they all had their hand to play in it. We’re not letting it slide from here on out.
> 
> **Eric:** No, sir, we are not.
> 
> **Jack:** The fact of the matter is, as you and I have had to come to Jesus over –
> 
> **Eric:** Please, remind me for the hundredth time –
> 
> **Jack: **– talent isn’t everything. Success requires hard work. Compassion. Integrity. These are the values we are going to uphold at Adams, and anyone who deems themselves above it all will find themselves facing a swift kick of reality. Mister Livingston was the first, and he doesn’t have to be the last.

Jack and Eric go on to discuss the logistics of their back-to-school shake-up, which contextualizes Zay’s solo from earlier (a flashforward, we now realize) – they will be requiring every junior to “reaudition” over the course of the week. This is in terms of their performance, but also their attitudes and behavior. 

> **Jack: **They earned their places at this school, I firmly believe that. But they have to put the work in to prove they still deserve it. Because there are dozens of equally talented young dreamers out there with just as much ambition as them who would kill to have their place in this class. They need to remember that.

Eric, although disappointed with how things have ended up, nods in agreement. The mere shake-up of the reaudition should be a subtle but important wake up call.

Jack takes a sip of his coffee, glancing down at the new hire paperwork on his desk. So many changes already in effect.

> **Jack:** If they want to see the success of their futures realized, then they better show up.

**INT. AAA - AUDITORIUM - DAY**

Isadora makes her way through the empty auditorium, early before class. She jogs up the stairs to the technician’s booth.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Isadora cautiously pokes her head in, listening for any signs of life. She wanders further in, heading to the center of the cramped space and getting a good look around.

It’s empty. Untouched. The panel by the electrical cabinet is secure and in place, not acting as a living space by any means. It feels abandoned.

It feels wrong.

With an unsurprised sigh, Isadora heads back out before first bell.

**INT. AAA - BLACK BOX THEATER - DAY**

The performing students have congregated in the black box classroom, chattering amongst themselves. Isadora hesitantly peers through the doors, cautious to step into her first official day as a performing arts student.

As she stands in the doorway, a ripple of reaction seems to go through the assembled class. Suddenly, a techie in their midst? Isadora clearly doesn’t know where to go. There’s a moment where she locks eyes with Riley sitting by Zay, but the way Isadora quickly averts her gaze from Riley’s awkward smile indicates that things aren’t all well and good in that camp.

Instead, another unlikely ally throws her a life preserver. Maya perks up when she spots her, eagerly waving her over to join her, Darby, and Yindra.

> **Maya:** Izzy. Izzy, over here!

Isadora is grateful for the save, rushing over and sliding into the seat behind her. Maya whips around to give her a playful swat and eyebrow wiggle, just as Harper arrives and sends the room into uncertain silence.

There’s a long beat of trepidation, Harper gazing at her new classroom and the throng of her new students staring back at her. Taking a deep breath, she marches into the room with authority and greets them all, introducing herself as their new performance coach. She explains that she was once a student just like them, although she admittedly dabbled a bit more in the technical arts than she thinks most of them have these days.

> **Sarah: **And you came back to teach us? Couldn’t catch a break, huh?

A few snickers through the room throw Harper off her game. She cheekily acknowledges Sarah’s comment, stating that she had her run in the backstages of Broadway, but she thought coming back here when the position miraculously opened up felt like a can’t-miss opportunity.

Still, the introduction has been sabotaged and the rest of her opening is on shaky ground. Many of her little asides don’t garner any favor, and the junior class is already proving to be a tough room. When Charlie, seated with Clarissa and Haley although somewhat removed, throws her a few words of encouragement it is met with a subtly coughed “teacher’s pet.”

Harper changes tact, choosing to redirect focus to attendance. She makes her way through the list until she hits a snag on Farkle, silence heavy in the room after she states his name. She repeats it, uncertainly given its odd status, but it’s clear he’s a no-show. Absent.

Ditching on the very first day. Maya and Zay exchange a look, obviously unimpressed.

**INT. MINKUS HOME - DAY**

At the luxurious Minkus suite, things admittedly feel somewhat muted. Most of the Minki children and Stuart are gone for school and work, only JENNIFER MINKUS present. She’s on the phone, pacing as she recounts to Stuart that Farkle has opted to stay home from school.

It’s evident she’s concerned, claiming that he’s been under the weather for “at least a month now.” She’s wondering if perhaps they should call the family doctor.

> **Jennifer: **He could be iron deficient. Or anemic, you know how that runs in my family. And the amount of medications I take alone per day just to keep this body up and running in working order, maybe we should have him checked out for similar things…

**INT. MINKUS HOME - FARKLE’S ROOM - DAY**

Despite the morning hour, the room is dark when Jennifer pokes her head in to check on her son. The curtains are drawn, and the space itself feels stagnant. Somewhere in the mess of blankets on the bed is Farkle, barely visible in the dark.

Jennifer informs him gently that she called him in, but it would be a shame if he were to fully miss out on his first day back for junior year. Maybe later, depending on how he’s feeling, he can go in for the second half of the school day. Farkle doesn’t seem enthused, plaintively stating that he would like to keep resting.

It’s clear that this answer concerns Jennifer, but she gives him space as requested. It’s out of sorts for him to be so unmoved about missing time at AAA, but then, she has absolutely no idea what unfolded at the end of last year.

She closes the door, allowing him to rest and sheltering him back in the dark.

**INT. AAA - AUDITORIUM - DAY**

In the first performance class of the semester, the entirely of the junior A class reunites and watches as SHAWN HUNTER and Harper take the stage together. It’s pointed from the get-go that they have no idea how to act around one another or work effectively in their new partnership, Harper looking for clues from Shawn while he’s attempting to just pretend everything is the same. In this case, that means proceeding as if she’s hardly there.

He takes the reins in dropping the new year bombshell on them, which is that they will be required over the course of the first week back to reaudition for their spot at AAA. Given how much of a mess the end of last year was, it was determined that a procedure was necessary to ensure that each of them are still eligible in their attendance.

Naturally, the students are _not_ pleased about this announcement. The performers immediately start complaining about how unfair it is, while the techies seem particularly spooked by the notion considering they’re not performers. They’re not “audition” material.

Harper speaks up, hoping to alleviate some of the stress.

> **Harper: **Well, actually, that’s one thing we’re hoping to work on this year. We’d love to see more engagement with the technical aspects from our performing students, as well as more performance participation from the technicians. That way, all of us will have a well-rounded understanding and appreciation for all angles of education at Adams.

A wonderful sentiment, but not what they want to hear right now. The uproar grows worse, Harper obviously stunned by the theatrics of this collective group. Turns out Jack was not kidding around about the junior class.

Shawn brings them back to Earth, assuring the techies that their auditions do not necessarily need to be performance-based. All they need to do in some fashion is demonstrate their skillset and why they deserve their spot at AAA. Just like when they applied the first time.

Part of this, as mentioned before, is reflected just in the act of showing up ready to learn. Farkle’s absence is pointed, as is Lucas’s. Shawn doesn’t look pleased as he scans the center section and finds no sign of his head technician.

Harper manages to interject over Shawn again, also explaining that they will be doing performance drills throughout the week to see what shape all of them are in after summer break. It’s important that they’re able to keep up to keep their spot. Isadora seems particularly intimidated by this information.

As they split for their first breakout groups of the year, Riley catches up to Isadora. She attempts to have a conversation with her and reassure her that she’ll be fine at drills, but Isadora ignores her. Somewhat isolated, Riley takes the hit and heads in the other direction.

Shawn pulls Dylan and Asher aside, asking them where the hell Lucas is. They unconvincingly claim that they have no idea. Shawn posits that this is a real shame, considering a) if Lucas doesn’t show up this week and participate in the stupid reaudition scheme he might very well be kicked out, and b) with Isadora having jumped ship they _need_ a strong technician present to steer the ship with the rest of them.

> **Asher: **Well, Mister Shawn, all due respect, but I think we deserve a _little_ more credit –
> 
> **Shawn: **Oh, yeah? You wanna take charge, Garcia?
> 
> **Asher: **Absolutely not. Hopefully Lucas will get the message.
> 
> **Shawn, flatly:** Yeah. Hopefully.

**INT. AAA - ERIC’S OFFICE - DAY**

Per tradition, Riley meets up with Eric for lunch given that it’s the first day. After settling in, she asks him what he thinks about the whole reaudition process. He claims it was the only solution he and Jack could come up with.

> **Eric: **It’s only meant to be a reminder that your acceptance here is conditional. The opportunities all of you are benefitting from and the exposure to fellow talents is contingent upon your willingness to help foster a creative, collaborative community.
> 
> _[ Riley nods along. That sounds too good to be true, at this point. ]_
> 
> **Eric:** You all have all the talent in the world, you know I believe it. But there have to be lines, there have to be consequences for our actions. If you push it too far, then we’re going to push back.

Speaking of the negative climate, Eric asks Riley how she’s handling the less-than-stellar current atmosphere between the students. Is she feeling okay? She claims it’s fine – after all, it’s nothing she couldn’t handle last year.

Eric points out that this is quite a bit different than the situation she entered before, but Riley doesn’t seem ready to confront that reality. She’s opting for denial, choosing to believe that this is merely another gap between her peers that she can bridge.

**INT. AAA - JACK’S OFFICE - DAY**

Isadora is meeting with Jack, finalizing the details to change her core focus from film studies to a dual focus in film and vocal performance.

Jack asks her to confirm that she’s certain about this change. Although there is a moment of hesitation, she does assure him that she’s serious about it. He doesn’t seem displeased, reminding her that all of this is of course contingent upon her reaudition but also stating that he’s proud of her for deciding to try something out of her comfort zone. Especially given her natural talent.

As she starts to head out, Jack ventures another query.

> **Jack:** Have you – do you have any idea what the deal is with Mister Friar? Is he planning on coming back to school?
> 
> _[ The question is a bit sarcastic, but the genuine concern behind it is loud and clear. ]_
> 
> **Isadora:**_ [ with an uncertain shrug ]_ Believe me, Principal Hunter. If Lucas were here, I think we’d both know pretty quickly.

Jack nods acquiescence, dismissing her. After she’s gone, he sighs, reaching forward to pick up his phone and make a call.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is eating dinner with CORY MATTHEWS, the only two present. As we learn through the sparse conversation, Auggie is out with Topanga, demonstrating how the separation is impacting the familial dynamic.

Cory can tell that the first day back did not go swimmingly. He attempts to get Riley to talk about it, but she shrugs off the concern. He goes on to explain that when he was in high school he had tiffs with his friends too – Shawn, even! – but he never gave up on them. So if she feels like people are slipping away from her, then she should do everything in her power to close the distance. She’s always been impressive at that, after all.

Although Riley is down, she chews on the sentiment. Adding fuel to her problem-solving fire.

**INT. MINKUS HOME - KITCHEN - NIGHT**

Jennifer hits the play button on the voicemail machine as she’s preparing for dinner, listening as Jack’s message comes through on the speaker.

> **Jack:** I hope all things are well. I’m calling in regards to Farkle’s absence today. While we all wish him better health and a quick recovery, due to the circumstances surrounding the junior class and our newly implemented special policies, it is imperative that he return to school within the week to maintain his enrollment.

In the midst of the recording, a door in the hall creaks open. Timidly, FARKLE MINKUS emerges from the dark and pads into the room, catching the end of the message as Jack wishes them well again.

To be frank, he’s looked better. He’s slighter than when we last saw him, dressed rather slovenly in his large sweater and sweats. The perpetual bedhead doesn’t help, especially when paired with the glazed, unmoved expression on his face. Whether or not he’s actually ill, he sure looks the part.

He approaches the countertop as Jennifer pauses the message machine, examining him. She makes playful commentary about how he’s finally risen from the dead, explaining that dinner will be ready soon. They’re planning on calling Lila at university as a family afterwards to see how she’s settling in, so she’s happy he’s up and moving.

> **Farkle: **Will dad be here?
> 
> **Jennifer: **… well, you know how busy your father is. He may dial in, but –
> 
> **Farkle:** So it’s not really as a family, is it?

Jennifer gives him a disappointed look, then dodges the question as she changes the subject. She states that she hopes he’ll be better for school tomorrow. It would be horrible for this illness to affect his time at AAA. He, personally, doesn’t seem all that concerned.

**INT. FOSTER HOME - ISADORA’S ROOM - NIGHT**

Isadora is on the phone, blocking out her foster siblings as she attempts to talk to Maya. The latter is giving her reassurance, reminding her that they went over her audition a hundred times and she’s going to kill it. No sweat. When Isadora asks what she’s planning to do for her audition, Maya plays coy and says it’s a surprise. Only time will tell, won’t it?

After they hang up, CATHERINA GONZALEZ enters and makes a comment about it’s nice to be let back into her own room. Isadora sneers at her sass, Catherina asking who the hell she was even talking to.

> **Catherina:** It didn’t sound like Lucas.
> 
> **Isadora: **I have other friends, you know.
> 
> **Catherina:** _[ with a scoff ]_ Since when?

Isadora opts to go back to tuning Catherina out, focusing on a different conversation. It’s a text conversation with her mother, Valerie De La Cruz. The last message that Isadora sent is an audio message, and from the message Valerie sent in reply it must be a recording of her audition.

Valerie expresses _high_ praise, lauding how great she sounds and how her training is already shining through. She assures her that she’s going to ace this “audition” – just don’t forget to breathe! Use diaphragm breaths! Isadora absorbs the sentiment again, taking it to heart.

**INT. MAYA’S APARTMENT - NIGHT**

Maya is crashed in her loft bed, having just hung up with Isadora. She hangs on her phone, scrolling through her other conversations. She hesitates when she sees Farkle, the last time they texted being as far back as summer. It wasn’t a very long or good conversation, and they’ve been silent since.

But now, she breaks the stalemate. She types a new message with a scowl on her face, obviously not pleased with his disappearance.

**INT. MINKUS HOME - FARKLE’S ROOM - NIGHT**

Farkle gets the message just as he’s climbing back into bed, about to go back to sleep. The message is simple, straight-forward, and gets the message across: **“You really blew everything up, and now you won’t even come back to face it? Coward.”**

As he reads, some of that natural manic spark we’re so familiar with seems to return to Farkle’s eyes. He may be a mess, and he may not be up for a scrap, but he most certainly is not going to get talked down to by Maya Penelope Hart.

He throws the blankets off of him, getting to his feet with renewed purpose.

**INT. AAA - HALLWAY - DAY**

Farkle isn’t the only one on the warpath. Riley is in hot pursuit of the techies, trying to get them to talk to her so she can start piecing together a way to reconnect with them. But all of them are freezing her out, albeit some more effectively than others.

JADE BEAMON is horrible at avoiding her, and she can’t even make eye contact as she jogs away from her. JEFF MONROE makes up an excuse, stating if he doesn’t set up the lighting booth, well, who will? NATE MARTINEZ lies and claims he’s running late for class, even though Riley points out that they have fifteen minutes until first bell.

> **Nate:** Late to be early. I like to be punctual. Punctually punctual. Okay, see you later.

When she finally reaches Dave, he is by far the worst at subtlety.

> **Riley:** Could you at least explain why you’re all running from me?
> 
> **Dave:** We’re not running.
> 
> **Riley:** Dave, we’re literally speedwalking like soccer moms right now. What is going on?
> 
> **Dave:** I can’t say.
> 
> **Riley:** Sure you can. We can talk about whatever it is –
> 
> **Dave:** No, Lucas and Isadora said we’re not supposed to talk to you. That’s the whole point. And now I’m fucking it up – come on, Dave!

He marches onward, leaving Riley even more confused and more than a little stung. Ouch. But she’s not going to give up that easily.

**INT. AAA - ERIC’S OFFICE - DAY**

Shawn is pacing, lamenting how doesn’t know how he’s going to handle this new teaching arrangement. He and Harper are not on the same page, and he has no idea how to communicate with her. She doesn’t know how things work around here. It’s all a mess. It’s not going to work.

> **Eric:** It’s been one day, Shawn.

Still, Shawn claims he cannot get through these drills and auditions without someone he knows he can rely on there to keep things running. He needed someone who knows what they’re doing, so he called in for back up.

Before Eric can verbally ask for clarification, as if on cue ANGELA MOORE flurries into the office. She’s frazzled, wondering if everyone is okay. Shawn said there was an emergency. Eric rolls his eyes.

> **Eric:** No, your grown man of a boyfriend is just a big baby.

Shawn clearly resents the implication, but Angela is totally lost. Eric gives her the quick rundown of the situation, also pointing out that this certainly won’t make Harper feel like her authority is being undermined.

Angela gives Shawn a disdainful look, but ultimately agrees to stick around for drills. It was nice to come back into the halls of AAA, surprisingly. So she’ll help where she can.

**INT. AAA - HALLWAY - DAY**

Charlie is at his locker, chatting with Haley and Clarissa. They tell him that they need to go get changed for drills, but they’ll see him in rehearsal. He nods them on their way, grabbing his things and getting ready to go himself.

But someone bumps into his locker and makes him drop his books, everything tumbling to the floor at their feet. Both of them immediately drop down to start picking things up, Charlie only lifting his head when the person apologizes.

It’s Zay. He offers another apology and helps collect the books, Charlie speechless for a second before assuring him it’s fine. They both rise back to their feet, Zay offering an awkward smile as he hands the books back to him.

His touch lingers. Charlie meets his eyes, and a tacit exchange passes between them. It’s hard to tell where they stand – are they back to being acquaintances? Is this some kind of weird game? Or did they truly leave the summer on an uneven foot?

Either way, the tension of whatever kind is _palpable_. Zay says he’ll see him in class, passing him by and heading down the hall. Charlie takes a deep breath, closing his eyes and taking a moment before closing his locker.

**EXT. AAA - DAY**

Farkle makes his triumphant march back into school, returned to his former blazer glory… sort of. He’s nowhere near as put together as he was at the beginning of sophomore year, his hair barely combed and still all over the place. He looks more exhausted than impassioned, but he’s nothing if not dedicated to the dream.

Glaring up at the institution, he stomps up the steps and through the doors as the jaunty drill piano riff leads us in…

* * *

**INT. AAA - AUDITORIUM - DAY**

**Song Cue ♫ ♪ “I Hope I Get It” as performed by _A Chorus Line_ Original Broadway Cast || Performed by AAA Juniors (feat. Angela Moore)**

Matching the frenzy of the Broadway classic, Angela leads the performing students through an intense and fast-paced routine for drills. The opening sequence alone feels like a true return to form, and from the get-go the sense is clear that everything is going to be heightened this season, _especially_ the singing and dancing.

Farkle takes the first solo about “needing this job.” As the ballet combination sequence ensues, the section is split between the junior girls performing the dance and the techie crew each giving their “auditions.”

Jade displays some of the costume pieces she created for the shows in the past, as well as projects she worked on over the summer. Dylan enthusiastically plays his guitar, as well as giving an excited speech of some kind that involves a lot of jumping around. Asher sits on the edge of the stage and shows off set designs he did for the last four productions.

Nate coolly shrugs and clearly makes a point of wondering why they have to be doing this at all, yet still obliging. Jeff waves at them from the lighting booth, doing all the work. Dave haphazardly wields a power tool and gabs on about all the set building he does, Eric, Jack, and Harper ready to hide behind their notepads in self-defense just in case.

When Angela beckons the boys to come forward, Farkle takes center stage with Zay on his left and Charlie his right. Zay tosses a glare to Farkle, who gives him a snide look in return. Charlie glances to Zay. Then Angela counts them in, sending them on a tight, impressive run through of the complicated routine.

As the girls are beckoned back to join, Maya steps back up next to Farkle. They exchange derisive stares, before putting more energy into the routine than ever before. Riley is managing to keep up after a year at AAA, but Isadora is clearly struggling.

On the last verse, the junior class makes their way to the front of the stage. Each blare of the horn sends one of the main players dropping into a crouch and spinning away from the front (the students behind them following suit), until it’s just Charlie standing in the center.

He takes the delicate final solo (_“Who am I anyway? Am I my resume?”_), seemingly frozen in time against his fellow classmates. As he steps cautiously forward…

**INT. GARDNER HOME - LIVING ROOM - DAY**

Charlie is in front of his family fireplace, staring at the perfect photos on the mantle (_“That is a picture of a person I don’t know.”_)

**INT. AAA - AUDITORIUM - DAY**

The rest of the number is split between scrutinizing his own image and the stage, Charlie carefully stepping around the crouched shadows of his peers as to not make a disturbance.

He sings the last line wistfully, staring out at the stage lights and emphatically declaring how much he wants to remain at AAA (_“I need this job, oh God, I need this show…”_). Seems like there will be much to explore with the resident prince charming this season…

* * *

**INT. AAA - GIRLS DRESSING ROOM - DAY**

All the girls are lamenting the drills, complaining about how dumb the whole reaudition process is. Isadora is so exhausted, she doesn’t even have the energy to join in. While everyone else is merely vexed, she has so much catching up to do. The pressure is definitely catching up to her.

Maya asks if she’s okay, but she states she’s just overwhelmed and needs some space and quiet for a bit. She respects this, backing off and heading out with the others.

Isadora paces the confines of the dressing room, but it’s not calming to her. It’s not her place. She changes tracks, going in search of a safer place.

**INT. AAA - CATWALK - DAY**

From the top of the catwalk, Isadora can be above it all for a moment again. Isolated, protected, back where she belongs. She settles onto the metal walkway and looks out towards the house, gazing towards the empty booth with its dark windows. Emptier than it should be.

Pulling out her phone, she goes to her message thread with Lucas. The last couple of texts have been her, asking where he is and if he’s coming to school. Unanswered.

Dissatisfied, Isadora opts to make a call instead. It goes to voicemail, which she clearly isn’t surprised by. She debates hanging up, then decides to wait for the beep to signal her message. 

> **Isadora:** Hey, it’s Dora. Again. Just wondering where the fuck you are and why you’re ghosting me? Or just ghosting in general, I guess. You need to come back, they’re doing this weird reaudition thing and if you don’t participate… I don’t know. I don’t know what’ll happen. But things are changing around here, and I don’t think you want to get left behind. I know how you hate that. Also… I need you here. I need you to come back, or at least tell me you’re okay. _[ A beat, then in frustration. ]_ Mostly, I need you to answer your damn phone.

She hangs up, releasing an exhausted sigh. She tilts her head back against the rail, closing her eyes and settling into the quiet.

**INT. AAA - BLACK BOX THEATER - DAY**

Angela makes her way into the black box theater, exhaling a happy sigh as she steps back into her former domain. Shawn is on her heels, disrupting Harper as she continues to set up her classroom during lunch break.

Angela makes a point of introducing herself, obviously intending for no bad blood between the two women. Harper seems willing to meet her at that level, holding clear respect for her and commending her ability to handle this job so long and so well. But she shoots a pointed jab in Shawn’s direction, pointing out that a heads up about her arrival would’ve been nice.

It’s evident that Shawn and Harper are not going to make easy collaborators.

**INT. AAA - HALLWAY - DAY**

Farkle is heading to his locker, nearly running into Riley on the way. They make tentative eye contact, but when Farkle starts to say something she moves past him without allowing him the chance. The dismissal stings, especially from Riley, but he can’t very well blame her.

Facing his locker, he’s startled to find Maya there waiting for him, although her greeting is far from friendly. She glowers at him, questioning why he even bothered to come back.

> **Farkle: **Oh, oh, sorry, was that _Degrassi_-style text you sent yesterday a butt dial? Was I not supposed to interpret “coward” as a challenge, or what other convoluted mixed message were you attempting to convey?

It’s clear that Maya doesn’t know what she wants from him either. She searches for something to say but comes up short, instead warning him to stay the hell out of her way before ramming into him as she storms past him. Farkle takes the hit, smiling sardonically and glancing over his shoulder to watch her go.

Once she’s gone, he opens his locker. It’s startling to see it as almost a time capsule from the year before, as he never bothered to clean it out after the fallout. Remnants of how things used to be are all over – photos of him and Maya, mementos from the lighter parts of the school year, a playbill from _Les Mis._

All of that, completely useless now. He remains passive, grabbing his books as the opening chords of his audition song fade in…

* * *

**Song Cue ♫ ♪ “Dancing With Myself” as performed by Glee Cast || Performed by Farkle Minkus**

Starting in the hallway by himself, Farkle kicks off his reaudition by sauntering through the halls on his own. He snaps his fingers as he wanders backwards through the hallway, lightly grooving to the beat as he carries us through the first third of the song.

**INT. AAA - AUDITORIUM - DAY**

Things take on a bit of a surrealist slant as Farkle transitions to the auditorium, now on the stage. Only he’s not alone – the rest of the core students (Riley, Maya, Zay, Charlie, Isadora) are frozen on stage, almost like wax figures rather than themselves. He dances around them as he continues, emphasizing how he’s essentially being frozen out of their lives.

During the bridge, the others disappear as the lights go down on each of them. Eventually it’s just Farkle in the middle of the stage with a light shining down from directly above, casting him in shadow as he sings the last _“Cause it’ll give me… time to think.”_

**INT. AAA - HALLWAY - DAY**

As he rounds out the final chorus, Farkle is back in the hallway again on his way to class. He’s constantly overlooked or ignored as people pass him by, literally getting bumped into a couple of times without apology. He doesn’t even seem bothered, taking the stride with a blank, somewhat neutral smile on his face.

* * *

He disappears around a corner, focus shifting as Isadora catches up to Dylan and Asher outside the doors to the auditorium. She corners them both, claiming that she knows they know where Lucas is. They can’t bullshit her, although they weakly refute it.

Irritation aside, Isadora tells them that they better make sure he gets the message about the audition bullshit. Also, he should really fucking answer his phone.

Then, attempting to break the awkwardness, she asks how the techie side of things are going now that she’s spending her time with the performers. They assure her that all is well, nothing new, and she has to accept that. While it seems like nothing is going to change between Isadora and her former crew, there’s a lot of room for her absence to make waves…

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle pokes his head in after school, swinging by to pick up the start of term paperwork he missed from Harper. They exchange more formal introductions, although it is clear neither of them are all that impressed by the other.

Harper comments on Farkle’s absence from the first day, insinuating that it doesn’t indicate great work ethic. She hopes he proves her wrong. He makes a flippant retort about how he didn’t realize illness was suddenly a punishable offense, and she is not pleased with it. If there’s a surefire way to start off on a bad foot, the two of them have found it.

**INT. AAA - HALLWAY - DAY**

As Farkle is making his way out, he runs into Angela. For the no good day he’s having, it’s honestly nice to see her again. Angela treats him just as warmly as she always did even in his worst moments, asking him how things are going and if he’s feeling better – she heard he missed the first day.

He brushes off the concern, instead changing the subject to her Off-Broadway rehearsal process. She invites him to walk with her, the two of them heading down the hall as she starts to recount what the experience has been like.

It’s the most at peace Farkle has seemed since our return.

**INT. CHUBBIE’S DINER - DAY**

KATY HART is working hard behind the counter, but food is not her focus. She’s hunched over the countertop with a calculator, crunching the numbers on bills. Her expression conveys the distress she’s feeling over the ordeal. When Maya shows up, she frantically hides it all away, putting on her usual smile as her daughter hops up onto a stool at the counter to talk to her.

Maya spares a second to talk about the idiocy of the reaudition thing, offhandedly complains about Lucas’s obnoxious absence as well as Farkle’s infamous return, and then eagerly swaps topics. She explains this outing that she, Zay, Charlie, Izzy, and Yindra want to do next weekend. It costs some money – not a lot, but worth noting – so she’s wondering if she’ll be able to go. Can they afford it?

Despite what we saw earlier, Katy offers another loving smile and says they’ll figure it out. Seems Riley isn’t the only one dealing in denial.

**EXT. LUCAS’S APARTMENT - DAY**

On the opposite end of Manhattan, Isadora is marching down Lucas’s street. She buzzes herself into the shabby building.

**INT. LUCAS’S APARTMENT - HALL - DAY**

Once she reaches his apartment, it’s not him who answers the door, but rather GRACE FRIAR. She is tense, distracted as Isadora attempts to have a conversation with her about whether or not Lucas is home. She keeps checking over her shoulder, and she’s absentmindedly adjusting the collar of her blouse to make sure it’s covering her collarbone. Isadora has to keep bringing her focus back, pushing more and more as she appears to be more of a dead end.

After a certain point, she gives Isadora a warning look.

> **Grace:** Lucas isn’t here. I think you should really get going.

The tone of her words is pretty hard to misunderstand, so Isadora takes heed and heads out. But she’s clearly frustrated, retreating with no more answers than before.

**EXT. LUCAS’S APARTMENT - DAY**

As Isadora descends the steps to the building, she finally makes a break through. She glances down the street just as LUCAS FRIAR is skulking back home, backpack on his shoulder although he clearly wasn’t at school.

They lock eyes, surprise and recognition coloring both of their features. Then Isadora sighs, expression shifting to a frustrated glare.

**EXT. TOMPKINS SQUARE PARK - DAY**

Lucas and Isadora have relocated to the park a couple of blocks from his apartment. She sits cross-legged on a picnic table bench while he sits on the ground with his knees pulled up, not looking at her as he rips blades of grass.

For what it’s worth, he doesn’t seem to have changed much since we last saw him. But considering the state that was, broken down in the booth, that’s not necessarily a good thing. He’s in his usual dark ensemble and sporting a snapback, black with a deep blue band. He has a brace on his left wrist, and although the reason why remains unstated, it goes without saying it’s probably not great.

Isadora is filling the silence, methodically explaining the reaudition process with far more detail than Lucas wants or needs. She starts to discuss how he’s going to need to throw something together, but he interrupts by tersely stating that he told her not to come to his apartment.

She fires back, acknowledging that agreement but claiming its null and void when he decides to drop off the fucking face of the Earth. He wasn’t answering her messages or calls. She didn’t know what else to do, or what to think. The reasons he doesn’t want her over are the exact reasons she had to come check that he was simply being a jackass rather than something worse.

> **Isadora:** Look, I get… I get wanting to avoid everything. I get wanting space, you know I do. But to go completely off the grid is a whole other thing, and then _[ with a scoff ]_ to keep _Asher and Dylan_ in the loop and not me? The tweedledum and tweedle_dummer_ of our crew?
> 
> **Lucas: **_[ warningly ] _Hey, don’t –
> 
> **Isadora: **I’m sorry. I’m sorry, but that’s insane. That’s bullshit.
> 
> **Lucas: **Well you wouldn’t have wanted to know what we were up to anyway, so.

Isadora claims that’s not the point, the conversation dead-ending again. Silence settles over them. Finally, Isadora sighs.

> **Isadora:** You cannot just _ghost_ like that. You know what people suddenly disappearing does to me, Lucas.
> 
> **Lucas:** … I know. I’m sorry.
> 
> _[ Another pointed silence. He still won’t look at her. She shakes her head. ]_
> 
> **Isadora:** Listen, I’m sorry that things didn’t work out the way you wanted them to. I’m sorry shit sucks. It does. And I know you’re pissed about McCullough, but are you really going to blow the only other option you have? _[ a beat ] _More than that, are you really going to let _Farkle Minkus_ have the last word?

Nothing is more powerful a motivator than spite, as Farkle himself can attest. Now _that_ seems to spark something in Lucas. Not necessarily a good spark, but it’s better than nothing.

**INT. AAA - JACK’S OFFICE - DAY**

Eric swings by Jack’s office the next morning to confer, only to discover he’s not alone. He accidentally walks in on Jack exchanging a goodbye kiss with his new girlfriend, ANNE MARIE WINTHROP (38). She’s fair-haired, rather pretty, and carries herself with an air of composure and authority that Jack himself puts out.

Eric profusely apologizes but Jack waves him off, quickly introducing the two. Anne Marie accepts Eric’s hand shake, the latter nervously stumbling into a goofy greeting.

> **Eric: **Anne Marie. Oh. Two names for the price of one, huh? Good deal!

Jack makes a face, obviously wondering why his usually tactful counselor is being so weird. Anne Marie takes it in stride, claiming he’s no bother at all and that she was just heading out. She confirms with Jack that he’ll meet her at the office for dinner, then gives them both a wave farewell. Seems like a lovely gal!

Jack asks Eric what he’s got, and he explains that the auditions are going relatively well given that the students absolutely hate them. He’s more unsettled by what he’s observed of the Shawn and Harper dynamic, as he has no idea how that partnership is going to fare without Angela there to smooth things over.

Jack defends his hiring of Harper, and both of them agree that transitions like these mostly just take time to set. The other news Eric has is much more pertinent and promises some real potential friction.

Because guess who’s back and ready to thrash…

**INT. AAA - AUDITORIUM - DAY**

The class has assembled, there to witness Lucas’s grand return to AAA. He’s standing center stage, a covered object placed on a couple of acting blocks beside him.

He first gives a small speech about how this whole audition process is bullshit and made specifically to punish a subsection of the class, so it’s not fair that he and the techies have to go through the motions.

> **Lucas: **But then, when has anyone ever cared about the techies? This seems just about typical. I’d refuse to do it in protest, especially considering I’m the only multi-faceted technician aside from Dora and it would truly be a self-inflicted bullet wound if they expelled me…
> 
> **Maya: **God, if only.
> 
> **Lucas:** But I’ve already orchestrated one school-wide revolt, so whatever, I’ll play along.

Thusly, Lucas removes the tarp from his project, revealing a scaled-down diorama of the auditorium featuring little replicas the typical AAA junior class. A production design / tactile display, in a sense.

> **Nigel:** Oh my God, you made little voodoo dolls.

Maybe so, Nigel. Maybe so. He also has commentary to go with the presentation, and suffice to say, it’s far from tame. 

> **Lucas: **So here’s Hart standing center stage and soaking up all the spotlight. Unfortunately, I couldn’t find the time to add vocal tracks – actually, I just didn’t care – so just imagine a cat _screeching_ bloody murder and you’ll get the full effect.

Maya looks like she’s about to _commit_ murder. Isadora grimaces.

> **Lucas: **This is Dave over here – he’s holding pizza even though we’re not supposed to eat in the auditorium.
> 
> **Dave:**_[ touched ] _He knows me so well. :’)

The techies are far more amused by the whole thing than the performers. Charlie leans forward, squinting to get a better look.

> **Charlie:** Do I not have a face?
> 
> **Lucas:** Oh, do you not? _[ glancing to check ]_ Well. _That_ can’t be a subconscious message, can it?

Once he’s run the full gamut, one creative choice becomes pointedly clear.

> **Darby: **Where’s Riley?
> 
> **Lucas:** Oh.
> 
> _[ Lucas glances at the diorama where she is clearly left out. Then he looks right at her, completely deadpan. ]_
> 
> **Lucas:** Guess I forgot her.

Yikes. Riley tries not to let it get to her. She chews her lip, maintaining a neutral expression.

**INT. AAA - CAFETERIA - DAY**

Farkle faces the lunch room shuffle, pausing by the entrance and scanning for where to plant himself. He eyes his former table where Maya, Zay, and Riley are currently situated… and opts to go in the other direction given the way Maya is glaring at him.

He takes an isolated seat at the other end of the table where Clarissa, Haley, and DARBY WINTERS are chatting. They’re discussing how much it’s going to suck now that Isadora is joining the ranks of the performers, as she’ll likely eat up any of the slim chances they had at getting good solos. Farkle is shocked by this news.

> **Farkle: **I’m sorry, what?
> 
> **Haley:** Um, eavesdrop much?
> 
> **Farkle:** Smackle is joining our class? You can’t be serious.
> 
> **Darby: **That’s what happens when you miss the first day. Miss all the new developments.
> 
> **Clarissa: **Why do you even care, Farkle? It’s not like she’s really a threat for a tenor.
> 
> **Haley: **Oh, he doesn’t care about that. He’s just worried she’ll beat him out for other opportunities since he’s determined himself the most deserving.

Farkle rolls his eyes, suddenly not at all interested in eating. He seems more perturbed by this development than he maybe should be, but it’s not clear why.

> **Haley: **Just don’t make another tantrum video, okay?
> 
> **Clarissa: **Yeah, we’ve had enough drama for a lifetime thanks to you.

He shoots them a glare, getting to his feet. He tosses his lunch without eating it, marching out of the cafeteria.

**EXT. AAA - LUNCH COURTYARD - DAY**

The techie table seems to be mostly back in order with Lucas back in their ranks. All seems to be well and good again… until Jade makes the mistake of innocently asking Isadora what her reaudition song is going to be. Lucas is disturbed by the notion.

> **Lucas:** Why are you performing? You know you don’t _have_ to do that, right? You can do something else. They can’t make you perform.
> 
> **Isadora:** … yes, I know. The thing is –

Before Isadora can break the news, Yindra interrupts. She pulls that Hermione-Granger-I’m-not-an-owl nonsense, and poorly delivers a message of Maya that it would be smart for all of them to attend her reaudition after lunch.

> **Yindra:** I was chosen as the best representative to come bearing the… holy gospel… that Maya intends to knock all of our socks… no, she said something about water too –
> 
> **Asher:** Aren’t you an actor? You’re supposed to be good at memorizing stuff.
> 
> **Yindra:** Not when it’s nonsense.
> 
> **Lucas:** Get on with it, Yindra.
> 
> **Yindra:** Basically, Maya wants you all there for her reaudition. Specifically.
> 
> **Nate:**_[ with a snort ] _Why? As if we care about Broadway Barbie’s five hundredth solo?
> 
> **Yindra:** I’m just telling you what she told me. She has some… _things_ she wants to say.

Ominous, but effective. Dylan and Asher look to Lucas, waiting to see what he does next.

**INT. AAA - AUDITORIUM - DAY**

And so the techies show up, along with just about everyone else in their class. Maya eagerly takes the stage, delivering her first diva look of the season and confidently proclaiming that she’s about to set the tone for the rest of the year – the year of Maya Hart.

* * *

**Song Cue ♫ ♪ “Sue Me” as performed by Sabrina Carpenter || Performed by Maya Hart**

Aside from an absolute bop and an impressive display of vocal chops, the things that Maya intends to say with her reaudition become pretty clear. She’s back with renewed fire as promised, and the number serves as a big “fuck you” to everyone who has wronged her or is pissing her off.

Namely, Lucas and Farkle. Maya basically sings the line _“I know it’s hard to see me on when you’ve been off as hell / But I’m not gonna dull myself because you dull yourself” _directly to Lucas, shrugging him off and flipping her hair over her shoulder with a flourish.

While it’s an undeniable good show and such a banger, and a majority of the class seems to be enjoying it, Farkle looks miserable. He slouches in his seat, gritting his teeth.

* * *

**INT. AAA - DRESSING ROOM HALL - DAY**

Farkle is hanging around in the hall, managing to catch Isadora just before her audition. She seems surprised he’s talking to her, until his intentions become clear – he’s trying to convince her not to go through with it.

His motivations seem pretty transparent, and Isadora doesn’t hesitate to tell him to take a hike. She’s got enough doubt surrounding this decision, she doesn’t need him to echo it too just so he doesn’t have to have a little more competition. Still, certain things he says to try and convince her hint that maybe his intentions are more complex than they seem.

> **Farkle: **Think about it. You hate the performers. You hate the way we act, how selfish we are, how nothing matters but the spotlight. Do you really want to dive right into the middle of that shallow pool?
> 
> **Isadora:** That’s funny, coming from you.
> 
> **Farkle:** Exactly. _[ a beat ] _Do you really want to end up like me?

There’s a chilling thought. Isadora hesitates, matching his glare… but no. She’s not taking any shit. Isadora is done letting people dictate which direction she’s allowed to go, and she’s not letting anyone stop her – least of all Farkle Minkus.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Don’t Rain On My Parade” as performed by Glee Cast || Performed by Isadora De La Cruz**

Isadora bursts through the doors to the wings, marching into the limelight as she launches into an impassioned rendition of the belter classic. She’s singing deep from the soul, pouring everything she’s got onto the stage for the chance to be taken seriously. And boy, is it a compelling plea.

All of the techies are there to support her, as well as Maya and Zay. Riley is also present, although she’s somewhat isolated from the others. Still, she has a proud smile on her face as Isadora commands the stage.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Lucas isn’t with the rest of the crew, hidden away in the booth and watching from above. Although his best friend is inarguably dynamite, he doesn’t look thrilled as she wraps up her performance.

* * *

**INT. BABINEAUX HOME - ZAY’S ROOM - DAY**

Zay is back at home, destressing from the week and touching up his hair in the mirror. He’s dressed in the same outfit we saw from the opening, so it’s evident his audition was also today.

He’s going on and on about how ridiculous the whole process is, making fun of the “we’ll let you know” tomfoolery of it all. It seems as though he’s just thinking out loud… until someone else joins in the exchange, jokingly stating that it would be “bananas” for them to kick him out, and he knows it. Zay cracks a smile, glancing at his reflection before looking over his shoulder…

At Charlie, seated cross-legged on his bed and watching him nitpick himself. He looks relaxed, far more comfortable and natural than we’ve seen him thus far. He props his chin on his hands, looking Zay over before raising his eyebrows to accent the point.

Given the way they banter back and forth about the auditions, it’s clear that Zay and Charlie now have a familiar rapport. Zay saunters over and settles down onto the bed next to him, nudging him playfully and leaning in rather close. Charlie doesn’t seem at all shaken by the proximity, nausea a long-forgotten side effect.

Zay alludes to how they spent a majority of the summer together after his return from Kossal, clarifying some of the gaps in their development.

> **Charlie: **If I think you’re still worth keeping around after three months, I don’t see how they would get rid of you after three years.
> 
> **Zay: **Well, to be fair, the… talents that I’m sharing with you are a little more convincing than my dancing.
> 
> _[ Charlie makes a face, scrunching his nose. Zay gasps in faux offense. ]_
> 
> **Zay:** Are you shading my romantic prowess? _[ at Charlie’s shrug ]_ Or do you just really love dance.
> 
> **Charlie:** _[ grinning ]_ I think I just really love dance. But uh… _[ glancing at his lips ] _show me again what I’m judging?

Zay smirks, leaning forward to give him a kiss. The moment lingers, Charlie smiling in spite of himself.

> **Charlie: **Oh, yeah. Right. That’s pretty good.
> 
> **Zay: **Uh-huh, yeah, sure.

The two of them kiss again, descending into laughter as they fall back against the mattress. The long and short of it is crystal clear – **Zay and Charlie are officially together.**

**INT. AAA - HALLWAY - DAY**

Riley jogs after Dylan and Asher, desperate to break through the embargo in any way possible. She basically begs the two of them to hear her out, pulling them aside by the dressing room doors and out of the way of other students. She requests just two minutes of their time, which they grant. It’s clear neither of them are all that keen about the situation.

Finally being heard, Riley laments how stupid this whole situation is. She explains that she never meant to hurt anybody, especially considering the thing wasn’t even her words, and _especially_ not Lucas.

> **Riley:** You both know I was never… it wasn’t fake. Not for me. You guys have to know that.
> 
> _[ Asher and Dylan exchange a look. ]_
> 
> **Riley:** And I know that you’re talking to him, so could you just…

She trails off, able to tell from their expressions that they’re not going to be much help. They believe her, but it’s not their opinion that makes a difference. Even if they did tell him what she just told them – if they haven’t already – there’s little chance it would make a difference.

Still, they seem genuinely sympathetic. Asher reaches out and touches her arm, frowning.

> **Asher:** I’m sorry, Riley. Really.

She meets his eyes, giving him a resigned nod. She watches them walk away, left alone in the hallway as everyone continues on their business around her.

* * *

**Song Cue ♫ ♪ “Reason Why” as performed by Rachael Yamagata || Performed by Riley Matthews**

**INT. AAA - AUDITORIUM - DAY**

Riley delivers a sobering take on their current straits for her reaudition, alone under a single spotlight on the stage. No fanfare, no glitz – just her and her emotions, as she operates best. The lyrics truly cut, her vocals tearing through them given how difficult the last few months have been. It’s a pertinent song for the world they exist in now, and her rendition of it is chilling.

Only a few other people are present, mainly Zay and Charlie as well as a couple of other stray classmates. The techies are nowhere to be found, Lucas most notably, though unsurprisingly.

* * *

When the song wraps, even the judging panel is feeling the low mood. Eric thanks Riley, barely getting the sentiment out before she dashes her way off stage.

Zay and Charlie exchange a look.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Isadora finds Lucas in the booth later, the latter clearly having an off start to the school year. He’s oddly cold to her as she attempts to start a conversation, so she pokes at him to try and figure out what the hell is up with him. He coolly points out that she certainly didn’t tell him about her plans to jump to the other side of the tracks. 

> **Isadora:** Is that what this is about? Seriously?_ [ off his shrug ]_ I’m … I’m going to do both. You can do both.
> 
> **Lucas: **_[ with a snort ]_ Okay.

When she pushes him on it, he brings up all of the contrary arguments to the decision that she’s been trying to ignore. The piss poor track record of the collective performer attitude. The cut-throat nature. The fact that she has no proper training and is leagues behind, which is only going to make her more overwhelmed.

When he brings up Valerie, it’s a bridge too far.

> **Lucas:** Or what about how your mom literally dumped you because she cared more about the spotlight than raising her child? And you really want to follow in those footsteps –
> 
> **Isadora, snapping: **So you don’t speak to me for days, and _now_ you’re offering your input? Now you think it’s cool to just waltz back in and say whatever the fuck you want?

A harsh dig, but a valid one. Lucas backs off, obviously unprepared for her sharp reaction. Both of them end up back under silence, not sure what to say next. Their exchange is softer when they speak again.

> **Lucas:** I didn’t… I’m just looking out for you.
> 
> **Isadora:** I know.
> 
> **Lucas: **I didn’t mean to upset you, or whatever.
> 
> **Isadora: **Well, okay.
> 
> **Lucas: **Okay.

But it doesn’t really feel okay. Things are changing just like Isadora said they were, but perhaps even more than either of them recognized. And more than either of them know how to handle.

**INT. AAA - PROP LOFT - DAY**

Zay climbs his way up to the prop loft, startling Riley. She’s curled up by the shelf of set decor pieces, crying and growing embarrassed once she realizes she’s been caught. She starts to wipe her eyes and make up an excuse but Zay doesn’t harp on it, simply walking over and settling down next to her.

> **Riley:** _[ wiping her eyes, huffing ] _Sorry.
> 
> **Zay:** What are you apologizing to me for? I’m the one who disrupted your space.

Riley laughs a little, even though nothing is funny. Zay doesn’t pressure her, but he’s there. Available to talk, if she wants to talk.

After a bout of quiet, Riley explains that this situation is harder for her than it probably should be. She states that this whole experience is reminiscent of things she’s already been through, going on to confide in Zay that reason she transferred to Adams in sophomore year was because of the intense bullying she endured at her former school.

> **Riley: **Don’t get me wrong, I’d still much rather be here. And the situations aren’t really all that similar. But the feeling… going back to being isolated because of something that really doesn’t have anything to do with me, just because, it’s –
> 
> **Zay:** Just because it’s marginally better doesn’t make this experience hurt any less.

Riley could certainly use the validation. She nods, wiping her eyes with her sleeve.

Zay notes that he’s no stranger to bullying, growing up Black and queer. But he reassures Riley that he’s going to be there for her – she’s not isolated. She’s not going through it alone. Everything else can fall apart, but he’s not going anywhere.

Riley smiles, nodding gratefully. Zay puts his arm around her and she leans into his shoulder, the two of them taking in the peace and allowing it to hurt. Letting the hurt happen, before they have to rebuild again.

**INT. AAA - ERIC’S OFFICE - DAY**

The faculty five are assembled in Eric’s office, discussing the auditions and how they want to maneuver where things go from here on out. None of them are getting cut, of course, but they need to decide how to effectively get the message across with the announcement that that doesn’t mean there’s a free pass for more bullshit.

Case in point, Jack reiterates the point that they are lucky to be here. All of them are, and that’s what he wants this whole experiment to drive home. They had to fight for their spot again, and they should remember to cherish how privileged they are to have these opportunities even when things get tense.

**INT. AAA - AUDITORIUM - DAY**

So that’s the message Harper delivers when she informs the assembled junior class that no one will be getting asked to leave. They all stand together on the stage as she gives a heartwarming speech about how lucky they all are to be in this position, and she hopes they remember that as they move through the challenges of this year. It’s a moving argument.

This sentiment goes over less smoothly in execution, however, as the juniors are pissed that the whole thing was just some elaborate mind game that they exerted time and energy towards. The jabs thrown around escalate, until somehow it all comes back to blaming Farkle for how the entire thing is his fault because of his stupid meltdown video.

Finally having had enough, Farkle snaps. He essentially gives a live show of the aforementioned meltdown, railing about how it’s bullshit that he’s getting the blame for everything when they’re all just as bitter and petty as he is. Sure, he sent in the video and yes, he shouldn’t have said the things he did, but all of them _also_ submitted rude posts about one another. They all sent in bullshit for their own selfish reasons – whether to tear down someone else or prop themselves up. Charlie casts a nervous glance to Riley, who avoids eye contact with him.

Harper is unimpressed with Farkle’s tirade, but she’s even more overwhelmed with how to bring this trainwreck back on track. Angela takes the reins instead, stepping forward and attempting to rally home Jack’s point that they should all feel lucky to be here.

* * *

**Song Cue ♫ ♪ “Show People” as performed by _Curtains_ Original Broadway Cast || Performed by Jack Hunter & Angela Moore (feat. AAA Juniors) (starting at 00:30)**

_**[ **Lyrics specific to characters – follow along [here](https://docs.google.com/document/d/15AwsC1dCi-FH_QcHHdpmjmwVaa1qBn7i6VrAnoBOWTA/edit?usp=sharing)!** ]**_

Specifics of the situation modified, Angela covers the opening bit of the song in essentially trying to guilt and bully the junior class into realizing they’re being ridiculous.

When she claims the show _must_ go on and they call horseshit, Jack steps up to take the soapbox. He elaborates how not only are they lucky to be here, they’re lucky to be _performers_ at all. People all around the world wish they were in their shoes, people would kill to be where they are right now with all this talent and opportunity at their fingertips. Surrounded by other talented, passionate people. Doing what they love.

Of course, it’s appealing to that intrinsic love of the art that starts to win people over. First Angela and Jack carry the song, but then students begin to join in. Nigel, then Yindra. Yogi has the bad joke about tree surgeons.

For once, it’s clear that the junior class is having _fun_ again. It’s also the first taste we’re getting of the full ensemble at work, the techies participating in the performance just as much as the rest. This season Harper said there would be more crossover, and that promise will indeed hold true!

About five minutes in, the performers come together in a kick line and declare that they are, in fact, show people. There’s a sense of unity for the first time all season, this rooted passion unlike any other that ties all of them together in spite of everything else.

As Angela takes the last few “_and on_” notes, she dances with a few key groups. Charlie and Zay are standing together in a half-circle with Yindra and Nigel, exchanging a playful look with Angela as she sings with them. Then she flutters over to the techie crew, pulling them back into the number with a flourish.

On the final, climactic repetition of the chorus, the entire ensemble is up on stage participating. Yes, all of them. As they march towards the front of the stage, Angela leading the charge, she makes one final definitive stomp that sends us smashing to black.

This is it! Round 2!

_END OF EPISODE._


	5. Second Choice [ 2.02 ]

**Summary for the Chapter:**

> TAKE YOUR PICK – The faculty organizes another duet week in an effort to bridge the student divides, but a change in rules creates more problems than solutions. Isadora gets a lesson in honing her inner diva. Harper and Shawn butt heads over how to handle the junior class.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**INT. MATTHEWS APARTMENT - RILEY’S ROOM - DAY**

**Song Cue ♫ ♪ “Happy When I’m Sad” as performed by Jonas Brothers || Instrumental**

Close on Riley’s coveted moodboard, only it’s in the process of transition. RILEY MATTHEWS is slowly taking items down, trying to reorient herself in this new world and find her sense of gravity again. If that means starting from scratch, then so be it.

Still, she hesitates as she takes the scrap of notebook paper down from its central spot. The notes she and Lucas were passing back and forth last semester, still boldly declaring _“you’re better” _in his untidy scrawl.

Riley gazes at it, handling it gently in her fingers. Obviously torn on how to feel about it now in spite of how many times she’s looked to it for inspiration. That, and painfully wistful.

CORY MATTHEWS interrupts her daze, startling her. He asks if she’s ready to go, not catching onto her earlier moment of melancholy. She moves fast and stuffs the note in her pocket, nodding and tossing her bag over her shoulder.

**INT. MINKUS HOME - FARKLE’S ROOM - DAY**

FARKLE MINKUS is getting ready for the day, scrutinizing himself in the mirror. He’s wearing one of his favorite sweaters, but he’s dissatisfied with how it looks. It’s a little too loose around the middle. He pulls it off in a huff, sorting through his other clothes in his closet.

As he pulls a different selection, the dark fabric of this one allows for clearer imperfections. There are a couple of stray hairs clinging to the cashmere, a slightly more perceptible amount of shedding than one might typically notice.

He hardly focuses on that as he pulls it on over his head. What the dark color does accomplish is a more fitted appearance, so he decides that’ll have to do for now. As his mother calls for him, he runs his hands through his hair one more time in the mirror. Still attempting to maintain that perfectly polished exterior, yet there’s a frayed edge he can’t seem to smooth over.

**INT. AAA - DANCE STUDIO - DAY**

Bright and early, MAYA HART is in the building before anyone else. She’s in the midst of an intense practice, not giving up any scrap of rehearsal time.

She stretches and moves with expert precision. The only aspect out of shape are her dance shoes, pretty worn and even falling apart in some places. She certainly can’t afford new ones.

Hence why she’s working harder than everyone else. She checks her phone for the time, tightening her ponytail before running through another routine.

**INT. FOSTER HOME - KITCHEN - DAY**

ISADORA DE LA CRUZ is finishing up a quick breakfast as she gets ready to head out, almost missing KAREN VAN HERSCHING as she enters carrying a crying ADRIEN WOODS. Isadora winces at the noise, but that’s only the beginning of her problems.

Karen questions why she didn’t wake up Ava and Arianna for school. They both overslept, and now they’re likely all going to be late.

> **Isadora:** That’s not… my job?

It’s evident that Karen is not impressed with this response. She reminds Isadora that now that Blue is gone and moved out, she should be pulling more weight to help the family around here. It’s part of the expectations in this household.

Isadora looks less than thrilled about it. She mutters about being late herself and shuffles out, Karen looking after her in disappointment.

**INT. AAA - HALLWAY - DAY**

More students are beginning to file in for the day, the hallways becoming lively and filled with chatter. Still figuring out her way around, HARPER BURGESS half-jogs through the halls until she runs into ERIC MATTHEWS. He asks if she’s heading to Jack’s office for their meeting.

> **Harper:** Well, I’m certainly trying.

Eric laughs with her, offering to help guide the way. She questions if he just got here, but he explains he’s been here for a bit. He likes to show up early and get things in order before another full day at AAA – and boy, has there been a lot to get in order these days.

**EXT. AAA - DAY**

Skateboarding up the street, DYLAN ORLANDO is on the phone with Asher. He explains that Lucas wasn’t at their usual spot to walk to school, so he doesn’t know where he is. He hopes he’ll still be on time, if he shows up at all.

As Dylan zooms by, focus shifts down the street a little further… around the corner and conveniently out of view, a parked car comes into frame –

**INT. ZAY’S CAR - DAY**

Which is where we find ZAY BABINEAUX, leaning forward across the median to kiss CHARLIE GARDNER. It’s clear they’ve been here for a hot minute, just out of sight and ready to head into school yet very… distracted.

They exchange a couple more enthusiastic kisses before Zay finally manages to pull away from him, catching his breath.

> **Zay:** We should really go. We’re going to be late.
> 
> **Charlie:** _[ humming ] _I… think we can take another minute –

Another minute, another kiss. Zay can’t help but laugh, and “another” becomes a handful.

> **Zay: **Oh, so being late isn’t a heavenly sin?
> 
> **Charlie:**_ [ over Zay’s laughter ] _Shut _up_!

Charlie lightly shoves him and pouts, Zay laughing harder. He takes his face in his hands, making him meet his eyes. Although the mood is playful, there’s no doubt from the way they handle one another that they’re crazy about each other. 

> **Zay:** One more minute, then.

It’s difficult to maintain the pout when Zay is looking at him like that. Charlie fails to hold back a smile, allowing him to pull him back into another kiss.

Just as the school bell rings…

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Eric, Harper, and SHAWN HUNTER are grouped around JACK HUNTER, who is standing behind his desk organizing papers. He thanks them all for being willing to meet so quickly, then states they need to address the tension they’re still grappling with from the first week.

All of the faculty members agree, and Eric echoes Jack’s thought that it’s going to take a more concerted effort from all of them to get everybody back on the same page. Jack opens the discussion to ideas of how to accomplish this task.

> **Shawn: **I’m thinking mortal combat. Throw ‘em in a ring _Hunger Games_ style, last one standing is new top dog.
> 
> **Jack:** Remind me why I haven’t fired you yet.
> 
> **Eric: **Besides, we all know what our odds are and the last thing we need is Lucas taking over and setting the place on fire.
> 
> **Jack: **Or instituting a code of silence in a school for the arts.
> 
> **Shawn, intrigued:** … now that you’ve mentioned it –
> 
> **Eric & Jack:** _No_, Shawn.

Harper is lagging a bit behind, not accustomed to the faculty banter the way Angela once was. It’s hard to discern what’s serious and what isn’t, so she fires a shot and hopes for the best.

> **Harper: **Have we tried just… speaking to the students?
> 
> _[ Pointed silence. Shawn gives her a look, crossing his arms. ]_
> 
> **Shawn: **Okay, I know you’re new here, but give us a little bit of credit.

She doesn’t appreciate Shawn’s tone, but they’re already moving past it.

> **Eric: **Well, there’s always more paint in storage for another safe tactical –
> 
> **Jack: **_NO. _We’re still scraping paint off the asphalt in the parking lot from the last time.

Bad ideas aside, Eric reminds them that all things considered, the duet assignment from last semester was a rather effective way to bridge gaps between students. It brought the class closer together before it inevitably… fell apart again, and that same tactic could be just as impactful this time around.

This seems to sit well with the others. Harper obviously doesn’t remember what they’re referring to, but she nods along anyway. Jack declares that it’s settled, they’ll do duets this week. Shawn and Eric agree and leave it at that, heading out.

Harper hangs back for a moment, hoping to ask Jack for advice. But it’s evident from the way he settles into his desk and starts going through work that there is a lot on his plate, so she hesitates. When he lifts his head and asks if there’s something he can do for her she denies it, shaking off the uncertainty and assuring him she’s fine.

> **Jack: **Are you sure? You know you’re always welcome to –
> 
> **Harper: **No, no it’s all good. No worries, I’ll… I can handle it. Thank you, though.

She gives him a confident smile, spinning on her heel and marching off to do just that.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

As Isadora enters the technician’s booth, the reason for Dylan missing Lucas becomes clear. It’s because LUCAS FRIAR is cooped up in his nook, still asleep from the looks of it. Given how haphazardly the panel is put to the side, it’s likely he showed up late at night.

Isadora sighs, shaking her head and marching over to him. She shakes him awake, surprised he’s still “in bed” given that the bell has already rung. That’s careless for him, and as she warns him when he grumbles at her and blinks himself awake, next time it’s going to be someone else other than her who finds him like that. Then they’ll have more problems than they already do.

Lucas waves her off, sitting up and starting to pack up. But Isadora made some important points, and she looks both irritated and concerned as she waits for him to get ready.

**INT. AAA - HALLWAY - DAY**

Maya stops by her locker before class, running into SARAH CARLSON and DARBY WINTERS. While Darby gives her a cheerful greeting, Sarah instead zeroes in on Maya’s decrepit shoes.

> **Sarah: **Might be time for a new pair, Hart. _[ a beat ] _Oh, wait, that’s not an option, right? Why bother when the illusion’s already been shattered?

Certainly one way to remind us that Maya’s big money facade from last season was blown. She sneers as Darby laughs along, slamming her locker closed and leading the way to class.

**INT. AAA - AUDITORIUM - DAY**

The class is congregating in the front and center section like usual, Isadora and Lucas descending from the booth to join them. Dylan and ASHER GARCIA seem relieved as Lucas comes over to join them, fresh shirt disguising his overnight stay and bedhead hidden behind an increasingly familiar snapback.

Harper and Shawn enter the auditorium, the former taking front and center stage and eagerly getting the attention of the class. She begins to discuss the assignment for the week and what it might entail, when she’s suddenly interrupted by Shawn pulling her back. He tells the class to talk amongst themselves and pulls Harper aside, embarrassing her as he implies that she doesn’t know what she’s doing.

> **Shawn:** I just want to make sure we’re on the same page before you go off saying whatever you’re going to say.
> 
> **Harper: **And you couldn’t have thought to do this… twenty minutes ago? Or any time before right now in the middle of class?
> 
> **Shawn: **There’s just certain things that you need to emphasize if you want this assignment to work. Mostly, they _cannot_ choose their own partners. It will not help the situation.
> 
> **Harper:** What are they, toddlers?
> 
> **Shawn:** Have you met them?

Although Shawn has to be coming from experience, Harper still doesn’t care for the way he’s talking down to her. She nods along to his further notes before taking the stage again… and completely disregarding what he told her. She explains the assignment, and sets them loose to choose their own partners.

It’s instantaneous madness. Shawn is visibly like _are you kidding me_, but Harper seems proud of herself for standing her own. The chaos has already been unleashed, in any case.

Off Shawn’s mortified expression –

** _Cue title sequence._ **

Once the mandate has been laid down, everyone jumps into deciding their partners. Riley turns around and finds Zay, the two of them agreeing to work together as it’s been a while since they had a good team up.

Riley immediately begins brainstorming ideas, but Zay is distracted when he catches Charlie heading out of the auditorium. He offhandedly tells her they’ll catch up later, subtly jogging his way after Charlie. Riley watches him go, reluctantly accepting the dismissal.

> **Riley, flatly: **Sure. No problem.

Panning to the techies, Isadora doesn’t even get the chance to breathe before she’s summoned from center stage. Maya points at her, already ready for action.

> **Maya:** Izzy! Come on. I’ve got a lot of ideas.

It’s not a question, it’s a statement. No room for discussion. Lucas looks more than bothered as she tosses him an apologetic smile and heads towards the stage, obviously expecting things to go quite differently. Behind him, Dylan and Asher begin discussing their take.

> **Dylan:** I’ve got it. It’s perfect. We have to do _Spiderman: Turn Off the Dark._
> 
> **Asher: **_[ catching his hands and shaking his head ]_ No, babe, no –
> 
> **Dylan:** I know it was a flop, but I think we could save it. I think we could really do something with it.

**INT. AAA - HALLWAY - DAY**

Zay catches up to Charlie, who seems surprised he even noticed he left. Zay begins to apologize for partnering with Riley without thinking about it, but Charlie doesn’t seem at all upset.

> **Zay: **You know, she’s just going through it right now and I think she could use a friend in her corner.
> 
> **Charlie: **Oh, hey, no problem. It’s probably for the best anyway, considering…

You know. They both know what goes without saying – the same factor that has them having this conversation in the hallway alone rather than in front of their peers, or parking down the street to kiss before school. Charlie shrugs off the bleak reminder, remaining positive.

> **Charlie: **Besides, Yindra is a great partner. She agreed we’d be excellent, so long as I promised never to kiss her again.

Zay laughs, coming around to stand in front of him. He speaks softer.

> **Zay: **Well, I don’t have to worry about that, do I?
> 
> **Charlie, coyly:** … no…

It’s a flirtatious little moment, and it’s effectively squandered as a couple of other students exit from the classroom nearby and head down the hall. They don’t pay them any attention but Zay and Charlie still take a couple steps back from one another, shifting into something stiffer.

They conclude that they’ll see each other later, heading off in separate directions as Zay jogs back to the auditorium.

**INT. AAA - BLACK BOX THEATER - DAY**

Harper is gathering her things together for lunch when Farkle pokes his head in. He awkwardly states that he doesn’t see how he’ll be able to complete the assignment this week, given that there’s no one left for him to partner with.

Harper doesn’t seem to buy this, as she’s certain the numbers are right from her last count. Farkle obviously is a bit miffed she doesn’t believe him, so he reiterates the statement again despite not wanting to keep saying it.

**INT. AAA - AUDITORIUM - DAY**

At the same time, Lucas is meeting with Shawn to express the same thing. He has a more blase approach, shrugging and claiming that he supposes he’ll just have to do something else. 

> **Lucas:** I mean, you know how not getting to perform is really gonna break my heart.
> 
> **Shawn: **Oh, I didn’t realize you switched your focus to comedy.

Harper and Farkle enter through the wings, coming to find Shawn. He explains that he was just discussing with Lucas what his alternative assignment might be, since he doesn’t seem to have a partner. 

> **Harper:** How interesting. Because Mister Minkus just came to me expressing the exact same dilemma._ [ Clapping her hands together. ] _There you go. Simple solution!

Lucas and Farkle stare at each other, and immediately both of them launch into complaints. No way. Nuh-uh. Not gonna happen.

> **Farkle: **I’d rather be skinned alive.
> 
> **Lucas: **That can be arranged.

Farkle’s eyes widen, looking to Shawn for a life preserver. He steps into the discussion, expressing that knowing these two and their unique dynamic this is probably not a good idea. He insists that Harper should trust him, after two years of being their teacher.

> **Harper:** Is that so? Because what I’m seeing is a problem that two students are experiencing, in which a clear and present solution is sitting right in front of us. A _good_ teacher would perhaps challenge those students to get over their own egos.

Lucas and Farkle both continue to argue, but Harper has had enough of the three of them. It’s only been a couple weeks, and yet they’re all tap-dancing on her last nerve. She lays down the law, stating that it’s either work together or fail the assignment.

Shawn is displeased, and the boys are downright livid. They storm off in their opposing directions, leaving Shawn to ruminate on it as Harper leaves him behind on the stage.

**INT. AAA - CAFETERIA - DAY**

Isadora is making her way towards the techie table in the courtyard, JADE BEAMON and NATE MARTINEZ waving her over. However, she gets sidetracked by Maya, who swoops to her side and is already buzzing with a million new ideas she’s brainstormed over last period. She’s pulled in her direction without much effort, joining her at her usual table.

**EXT. AAA - LUNCH COURTYARD - DAY**

Lucas arrives just as they watch Isadora get steered away from them. Jade grimaces. JEFF MONROE makes room for Lucas.

> **Jeff: **Well, that’s an unexpected twist.
> 
> **Nate: **Damn ugly one at that.
> 
> **Lucas, deadpan:** Given how today is going so far, can’t say I’m fucking surprised.

**INT. AAA - CAFETERIA - DAY**

Isadora joins Zay and Riley at Maya’s table, all of them happy to have her join them. As they launch into eager conversation about what their number might be like, the girls agree that they’ll meet after school at Maya’s place to start rehearsing.

Although unintentional, Riley’s attempts to contribute to the conversation are brushed over. She gives up about halfway through, focusing on her food instead and keeping quiet.

**INT. MAYA’S APARTMENT - DAY**

So meet up Isadora and Maya do, the latter already launching into a myriad of ideas and energetically going on and on about how their voices should compliment one another and they’ll have no trouble getting Isa up to snuff on her dancing. Isadora tries to keep up, finding ways to get a word in and contribute which Maya eagerly builds upon.

Once they take a second to breathe, Maya states that she’s glad they decided to be partners. There’s an electricity in the air… perhaps a duet is coming on…

* * *

**Song Cue ♫ ♪ “Popular” as performed by _Wicked_ Original Broadway Cast || Performed by Maya Hart (feat. Isadora De La Cruz)**

The rendition of the Broadway classic picks up right from the start, Maya declaring that Isadora is going to be her new “project.” As the number unfolds, both girls dance around the apartment, don some of Maya’s fancier knock-off clothes, totally fall into the theatrics of the number.

Just as Maya is giving the declarative _“Look at you, you’re beautiful”_ line, it’s not a fear of the new friendship but a text message that disrupts the number. Isadora checks her phone, reading whatever text she just received and growing panicked. She hastily exclaims she has to go, Maya calling a playful “you’re welcome” after her.

Maya finishes out the song on her own, at as full Galinda power as ever.

* * *

**EXT. AAA - DAY**

Isadora is rushing back up the steps to school, cursing out a “shit” with every step she takes. The sounds of heavy equipment being moved float in…

**INT. AAA - AUDITORIUM - DAY**

While the performers have vacated the premises the auditorium is buzzing with activity, all of the techies present for their annual technical inventory. Students from every grade are in attendance, the freshmen learning the ropes from the upperclassmen of what goes into one of their most important days of the year.

Lucas is overseeing the inventorying of the items in the construction racks, DAVE WILLIAMS digging through the wood and two-by-fours to shout to him how many pieces they currently have. Lucas makes him count again, reminding him they need an accurate take on all of their materials before Shawn goes and places the order for the year before the first production.

Isadora clambers in and pushes through the underclassmen, searching for Lucas. He rolls his eyes when she spots him, not waiting up for her as he continues his march around with the clipboard she was supposed to be carrying.

> **Lucas:** Look who decided to show up.
> 
> **Isadora:** I’m so sorry. I totally spaced.
> 
> **Lucas: **No kidding. I mean, if you have better things to do –
> 
> **Isadora:** I’m here, aren’t I? What can I do to help? Give me something to do.

Lucas exhales a sigh, shrugging and stating that she can do a walkabout and see who might need help. He feels like they’ve got it covered, though, so maybe she should just go.

Isadora swallows the sting over the dismissal and pushes past it, grasping for a new conversation to ease the tension. She asks him what ended up happening with his assignment, who did he get partnered with? Lucas scowls. 

> **Lucas:** I _don’t_ want to talk about it.

**INT. MINKUS HOME - DAY**

Farkle is seated on the couch in the living room, helping EZRA MINKUS with his homework. Ezra is working hard, but Farkle is zoned out. When his little brother complains about his half-hearted state, he snaps out of it but argues against the fact that he’s acting any sort of way. Regardless, it’s evident that Ezra greatly values the attention of his favorite brother.

JENNIFER MINKUS comes into the living room, jokingly commenting that it’s such a surprise to see Farkle out of his bedroom. He’s been acting too much like Uri as of late. She asks if it’s nice to be back at school and in routine, also seeing how he’s feeling. She touches his forehead to check his temperature.

Farkle shrugs away from the touch, brushing off the topic and instead focusing on school. He complains about the current assignment they’re doing.

> **Jennifer: **Who are you working with, then? Maya?
> 
> **Farkle: **_[ with a snort ]_ I wish. I mean, she wishes. No, I’m stuck with Lucas.
> 
> **Jennifer: **Lucas? Is that the shifty-looking one who used to chase you around during class and threaten you with power tools?
> 
> **Farkle:** Only in theory. But yes.
> 
> **Jennifer:** … well, I suppose it’s nice you’ve become… friends, then.

Farkle looks disgusted at the notion. He goes back to focusing on Ezra’s homework page.

> **Farkle:** Believe me, we are _not_ friends.

**INT. AAA - JACK’S OFFICE - DAY**

To that end, Jack is meeting with Lucas to discuss his feelings over being partnered with Farkle. He also takes the opportunity to lightly broach the topic of his absence earlier during the first week and his overall… headspace coming off of how last year ended.

Although it’s the first we’ve seen of Lucas being back in Jack’s office this season, the atmosphere between them is comfortable. Lucas looks perfectly at home in the chair across from Jack’s desk. The friction from the start of last year is long gone, instead building on the familiarity and rapport the two of them started to build during the spring.

Still, that doesn’t mean Lucas is an easy conversationalist. He’s surprisingly aloof about the duet assignment, but it’s a clear projection that Jack can see right through. For all the effort Jack puts into trying to have an honest dialogue, he doesn’t get very far, but it’s clear that he’s taking this unique position he has with a student like Lucas more seriously than before.

> **Jack: **I’m only trying to see where your head’s at.
> 
> **Lucas: **Sure you wanna go down that rabbit hole? _[ Cheekily. ] _Scary place.
> 
> **Jack, deadpan: **Yes, I’m quaking._ [ a beat ]_ I just want you recognize that I’m listening. There’s a place for you to express your opinions.

Lucas blinks at him, the conversation taking on a more meaningful slant. For a moment, it seems as though he might actually say something of value.

> **Lucas:** … I gotta go.

He doesn’t wait for approval, slipping out the door and back into the crowd transitioning between classes. Jack sighs, sauntering out after him.

**INT. AAA - ATRIUM - DAY**

As Jack emerges from the front office, he takes a second to look around him. The students running from place to place, the school day continuing on in spite of everything that has unfolded in these halls. He looks at it all with a mixture of pride and exhaustion – for all the things they’ve built in these walls, there’s so much work to be done.

Something has to make the struggle worth it. Something has to give the job meaning…

* * *

**Song Cue ♫ ♪ “A Sentimental Man” as performed by _Wicked_ Original Broadway Cast || Performed by Jack Hunter**

The song conveys just that, highlighting Jack’s attachment to the school and the students as he wanders the halls. He feels responsible for all of the students in their care, and wants to help them reach their greatest potential with any opportunities they can offer them.

Where the lyrics shift focus to Elphaba, Jack’s focus shifts to Lucas. He watches from afar as Lucas closes his locker and disappears into the crowd, expressing his dedication to making sure he’s taking advantage of all he’s capable of just like everyone else (_“Cause I think everyone deserves the chance to fly…”_)

Case in point, Jack takes his role at AAA quite seriously, and he intends to zero in on one of their most troubled students. For whatever reason he’s been granted a shred of respect and trust where others have not, and he’s not going to waste it.

As the orchestration peters out, he leisurely makes his way back to the office.

* * *

**INT. AAA - DANCE STUDIO - DAY**

Zay and Charlie are rehearsing together in their usual studio, having put in a good morning workout. Charlie is in the process of stretching while Zay texts with Riley about their assignment, the former teasing him about he doesn’t take his cool down routine nearly serious enough. One day, it’s really going to come back to bite him. 

> **Zay:** It’s fine, I know my own body. I’ve got bionic muscles.
> 
> **Charlie: **That can’t be true.
> 
> **Zay: **It’s… it’s a joke. Like_ bi_onic… God, you are hopeless.

Charlie changes tracks, noting his frustration about how things are between him and Riley. He feels like there’s a wall up between them ever since the _AAAC_, and he doesn’t know how to fix it. As Zay comes and takes his hands to help pull him to his feet, Charlie questions if he’d be willing to keep an ear out since they’re working together this week.

> **Zay:** I mean, I’m not going to be your _spy_ or anything, but if it comes up I’ll see what I can figure out.

At this point, Charlie will take anything. He gives him an appreciative nod.

**INT. AAA - HALLWAY - DAY**

Farkle is at his locker, reading through a text exchange with Lucas (listed simply in his contacts as **Jackass**.) Given the simple “no” that he sent in response to Farkle’s last message regarding their assignment, it seems like they won’t be doing much work on it at all.

All things considered, Farkle doesn’t seem bothered. He’s resigned as he unloads his books and grabs his rehearsal duffle, surprised when Eric calls to him from down the hall. He asks if he has a moment for a quick chat. From the expression on his face, that seems like the last thing Farkle wants to do, but he obliges.

**INT. AAA - ERIC’S OFFICE - DAY**

It’s clear that Farkle is not at all relaxed in Eric’s usually comforting space. He avoids eye contact as Eric starts a conversation with him, asking how he’s feeling about the new year given everything that unfolded at the end of last semester. They haven’t exactly had the chance to unpack all of that.

Farkle shrugs it off, jittery as he sits under Eric’s psychological microscope. When the focus shifts to his sudden partnership with Lucas, Farkle seizes the opportunity to seem affable and claims that he’ll put in a more pointed effort to get that duet up and running. If it will get the well-meaning counselor off his back, he’ll do just about anything.

Eric starts to double back to everything that remains turned upside from last year, but the bell ringing for class gives Farkle the excuse to bolt. He requests a late pass, already gearing up to get the hell out of there.

**INT. AAA - AUDITORIUM - DAY**

Charlie, YINDRA AMINO, and Zay are talking on stage when Riley wanders over to join them, intending to discuss the project with Zay. There’s an awkward beat as she acknowledges Charlie, but avoids looking at him any further through the duration of the conversation.

However, the universe has other plans. In the midst of discussing their song choice, Dylan flutters over and starts to drag Zay away, reminding him that he agreed to help him and Asher with the staging of their assignment. Yindra also gets distracted, NIGEL CHEY pulling her into a different discussion. Suddenly, it’s just Riley and Charlie, stuck in conversation after not speaking to one another for months.

Charlie speaks first, trying to find a clever way to break the ice. It doesn’t work, so he instead switches into apologizing about everything with the _AAAC_. 

> **Charlie:** Look, I’m sorry about the Instagram. I shouldn’t have done what I did. Everything just blew up so fast, and –
> 
> **Riley:** Charlie, please, stop. I get what you’re trying to do, trust me. I’ve been attempting to smooth things over because of that stupid page basically since summer. But I’m not… I’m not ready to deal with this yet. With you.

Charlie is evidently disappointed. He wants to fix it, but he doesn’t know how. Especially given that he can’t give her a good reason for why it happened.

> **Riley: **I can’t even figure out why you would – I’m just not there yet. To forgive you, let alone forget. I’m sorry.

Either way, he can take a hint. He nods and backs off, Zay returning just in time to get a full dose of the strain. He tries to say something to ease the tension, but Riley simply tells him they’ll catch up later and excuses herself.

In the house, Farkle is straggling after Lucas and attempting to negotiate with him as they walk through the aisles towards the booth. Although he isn’t keen to do the assignment either, he thinks they need to do something just to get everyone off their backs.

> **Lucas:** Look, pick whatever stupid loud song you wanna do, and I’ll put the spotlight on you and we’ll call it a day. There. Assignment finished.

Solid plan, but Farkle still isn’t convinced. Although he’s stuck with his least favorite person, he’s dying to have an actual conversation with someone rather than continuing to stay isolated. It’s a paradoxical dilemma, and he ends up suggesting they still meet to go over logistics anyway.

Lucas does his equivalent of a feral cat growl, but agrees. He can set the place to meet and he’ll give him fifteen minutes of his time.

**INT. AAA - HALLWAY - DAY**

Zay and Riley are leaving the auditorium together, deciding where they’ll meet for their after school rehearsal. For once it seems as though Riley has his full attention… until Maya swoops in, asking for help with her and Isadora’s choreography. She pulls him away, Riley somehow alone in the hall again.

She hesitates, looking around her and not knowing where to go. She spots CLARISSA CRUZ, HALEY FISHER, and Darby together chatting and starts in that direction, but they disperse before she can get close enough to join them. It’s a no go on the techies, seated on the steps outside the side entrance to the auditorium. It’s a no on Farkle, standing at his locker alone.

It’s a no on Lucas, although Riley clearly wishes it wasn’t. She watches from afar as he shuts his locker and takes off in the opposite direction, not even casting a backwards glance in her direction. With a sigh, she wanders over to her locker.

Inside the door, it’s practically a relic of the way things used to be. There are pictures from the past year much like Farkle’s locker, only the way Riley’s are arranged demonstrate the care and love she puts into maintaining them. It’s evidence of a different time, when she felt like she knew who she was and who her friends were.

She hesitates on a photo of her, Lucas, and Isadora, then drifts to one set up right below it. It’s solely of Lucas, taken sometime around last year’s duet assignment when they were spending a lot of time together alone. Feels like a million years ago.

Riley glances to her phone, finding the message thread between the two of them. The last messages were sent months ago – early in the summer, apologies from Riley and a plead to talk about things that went unanswered.

* * *

**Song Cue ♫ ♪ “Talk To Me” as performed by_ Bye Bye Birdie!_ Original Broadway Cast || Performed by Riley Matthews (feat. Asher Garcia, Nigel Chey, Charlie Gardner, and Nick Yogi)**

As Riley closes her locker, she leans back against the metal and launches into the melancholy Broadway tune. It concisely captures her frustration with the situation at hand – hoping that Lucas can’t just be completely over her, knowing that if they just had the chance to talk things through things might be different.

This is accented by different cuts to Riley watching him from afar and wondering the same things; in class, in the auditorium, separated by the courtyard windows during lunch. It’s similar to her former 50s crooner in 1.07, although the circumstances are more fraught than the simplicity of back then.

The barbershop quartet comes in the form of Asher, Nigel, Charlie, and Yogi, who saunter into the hall behind her and provide the vocal backing for her musical plea. They’re dressed in matching color-coordinated vests, obviously not an actual presence in the scene but more so a figment of Riley’s imagination.

**INT. AAA - AUDITORIUM - DAY**

They also serve the purpose of dancing with Riley, intercut through the other sequences. It’s all reminiscent of the dancing she used to do with Lucas – up to the grand swell about 2 minutes in where her imagination fills in that gap. For a brief reprieve, it _is_ Lucas dancing with her…

**INT. AAA - HALLWAY - DAY**

Until reality disrupts the dream. Riley nearly rams into Lucas in the hallway, him catching her from stumbling on instinct. There’s a moment where they lock eyes, all of the potential in the world between them…

Then Lucas walks away. He slides past her, leaving her standing there.

The quartet takes over the last vocals as Riley ends up back where she started, alone in the hallway with nowhere to go. She’s stranded herself, and the only person she truly wants to talk to is the one already walking away.

* * *

**INT. AAA - AUDITORIUM - DAY**

**Song Cue ♫ ♪ “God Is A Woman” as performed by Ariana Grande || Instrumental**

Ariana is playing through Isadora’s bluetooth speaker, banged up and cheap but gets the job done. She and Maya are walking through steps for a potential routine to the pop hit, the latter speeding through it and enthusiastically discussing how certain elements will work in the final performance.

Farkle enters through the dressing room doors just as they’re running through steps for the chorus. He hangs back in the shadows and watches from the wings, witnessing his own replacement happening in real time.

Isadora is doing her best to keep up. Interestingly enough, she’s starting to _look_ a little bit more like Maya – her hair has been styled with more care than usual, and the color palette of her outfit is lighter, complementing the pink and white that Maya wears. Her lips have a bit of a shine to them, the most neutral lip gloss Isa could find amongst Catherina’s extensive makeup collection.

But she’s nowhere near at the same rehearsal level as the reigning diva yet, so she gives up about halfway through and claims she can’t do this. Maya jogs and pauses the music.

* * *

The two of them debrief, Maya offering to walk Isadora through whatever steps she might be having trouble with. But it’s not the routine itself, it’s everything. It’s just a lot to adjust to at once, so she just needs some time to get used to it. She’ll keep practicing, but it isn’t clicking right now. Maya grants her the right to take a break, Isadora heading out through the other doors by the costume loft.

Farkle waits until Maya is alone to make himself known, stepping into the stage lights and making snarky commentary on how her new pet project doesn’t seem to be going so smoothly. She brushes him off and continues to gather her things.

But he doesn’t want the conversation to end. This is the most attention she’s paid him in weeks, and he doesn’t want to let it go. So he keeps it going the only way he can think of by digging the knife in further, insinuating that she must’ve had to stoop low if she had to go through the techies to try and find someone to replace him.

Maya turns on him, giving him her full attention as she tells him off. Despite what he might believe, she’s not _using_ Isadora, and certainly not to fill some void he thinks he left. He shouldn’t flatter himself that much importance.

> **Maya:** Izzy isn’t just some “project” for me. Believe it or not, I don’t compartmentalize my friendships by how they most benefit me.

The tension takes on a familiar slant, a competitive edge emerging that needs to be expressed through music. Clarissa and Haley enter together with their cellos just as Farkle and Maya are staring each other down, claiming that they booked the auditorium for this time slot. So what are they doing there? And aren’t they not partners this week?

Maya states they’re just in time, as they can help wrap this all up. When Haley is like “but we came to rehearse our thing,” Maya doesn’t seem bothered.

> **Maya: **Consider it a warm-up… if you can keep up.

Clarissa and Haley roll their eyes, but they settle in anyway. The faster they can let them get out their antics, the faster they can actually rehearse.

* * *

**Song Cue ♫ ♪ “Smooth Criminal” as performed by Glee Cast || Performed by Farkle Minkus & Maya Hart (feat. Clarissa Cruz & Haley Fisher)**

Clarissa and Haley carry the heft of this number on their cellos, Maya and Farkle parading around them and channeling all their frustration with one another into the vocals. It’s an electric duet, and for what it’s worth, it’s the most energized Farkle has seemed since the school year started. There’s actual passion behind the performance, which he’s been lacking for some time.

It’s also undeniable that the two of them make excellent partners. They’re perfectly matched, as they have been since they met. There’s no one else who challenges them like the other to raise the bar, and there’s an appreciation of the other’s talent present despite how at odds they are.

* * *

But one quick duet isn’t going to set things right. Although Farkle seems to have gotten something meaningful out of the exchange, he’s obviously surprised when Maya continues to dismiss him as soon as they’re wrapped. She gathers her things and floats out with no more than a short goodbye.

Farkle swallows, not taking the rejection well. Clarissa and Haley break him out of it, asking if he can leave already so they can rehearse. Haven’t they done enough?

Backing off, he makes a dash for the dressing rooms.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Given his shaken state, Farkle seems to be taking this harder than just a duet gone sour. He stumbles into the dressing room, leaning against the counter and trying to calm his breathing. His hands are shaking.

He lifts his gaze, looking at himself in the mirror. It doesn’t seem like he likes what he sees. He curses under his breath, suddenly feeling like it’s a thousand degrees. He pulls off his sweater, leaving him in his plain tee as he crumbles into a sitting position against the mirror and haphazardly bundling the garment in his hands.

Above him, the wall clock ticks to a new minute –

**INT. AAA - PRACTICE ROOM - DAY**

Just as the clock in the practice room does, where Lucas is sitting alone. He glances around him with mild interest and obvious distrust, having never been in this part of the school before. He taps his feet impatiently, checking his watch.

Clearly, Farkle isn’t coming. Rolling his eyes, Lucas gets to his feet. He takes some of the writing utensils from the communal stash just because he can, kicking at the piano bench for good measure before marching out.

**INT. GARDNER HOME - LIVING ROOM - DAY**

Charlie is seated on the couch with his homework, half paying attention while ROSIE GARDNER and DAISY GARDNER watch a show together. Daisy is playing with their beagle SKIPPY on the floor in front of the couch, making a face at something that plays out on screen. 

> **Daisy: **Why the heck did that happen? That doesn’t make any sense.
> 
> **Rosie:** It’s network TV, it doesn’t have to make sense.

To Rosie’s curiosity, Charlie doesn’t seem all that interested in the show. He’s focused on his phone instead, rereading his last text from Zay. He’s asking if he’s alright after the weird exchange he and Riley must’ve had, given how off things felt when he walked back over.

He wants to talk to him about it, but he’s not just going to give him a call while hanging out with his sisters. Especially not when they’re so nosy.

> **Rosie: **Who are you texting?
> 
> **Charlie:** Huh? What? No one.
> 
> **Rosie: **Yeah you are. Your messages are open.
> 
> **Charlie:** Am I typing? No.
> 
> **Daisy: **Why are you acting surprised? He’s always on his phone.
> 
> **Charlie: **No I am not.
> 
> **Rosie: **Yeah you are. You basically live on it. It’s like you’re in love with it.
> 
> **Daisy:**_ [ laughing ] _Charlie has a girlfriend.
> 
> **Charlie: **Shut up, no I don’t.
> 
> **Daisy: **Yeah you do. The phone.
> 
> **Rosie: **I don’t know where, but I’m positive there has to be something in the Bible about how love between man and technology is unholy.
> 
> **Charlie: **I bet if you look hard enough, you’ll find the verse where it says you’re _annoying_.
> 
> **Daisy: **Being annoying isn’t a sin. I’ve checked.

Both Rosie and Charlie seem to want to know more about _that_, but ELEANOR GARDNER entering interrupts the conversation. She explains what she’s planning on making for dinner, and then offhandedly mentions that someone needs to walk Skippy.

A lightbulb goes off for Charlie. He loudly volunteers to do it, demonstrating a little too much enthusiasm for something like walking their family beagle. But aside from judgmental expressions from his sisters, the moment passes without question. Charlie whistles for Skippy to follow him, going to grab the leash.

**INT. AAA - DANCE STUDIO - DAY**

Zay and Riley have convened for rehearsal, in the midst of walking through some harmonies together. It’s clear that Riley is enjoying the quality time. At least if everyone else seems to have inevitably lost interest in her, she still has her first friend.

After they decide on a certain chord progression, Zay subtly changes the subject and asks about what happened in class today. When he came back to work, things seemed pretty icy between her and Charlie. Riley doesn’t want to talk about it, but after a little bit of prodding she admits to the fact that it’s hard to warm up to him again. Not only because he so blatantly used her without any sort of signs, but more so because she has no clue why he did it. It would be easier to grapple with if she had a sense of closure around it, or a clear motive.

Zay obviously wants to grant her that, but he knows it’s not his place. He grows distracted anyway, getting a text from Charlie asking if he can meet him on his walk with Skippy. Zay jumps at the opportunity and tells Riley he has to go, promising they’ll pick this back up tomorrow. He’s booking it before she can argue against it, once again leaving her in the dust.

**INT. CHUBBIE’S DINER - DAY**

Maya saunters into the diner, nodding at some of the familiar busboys before hopping up to the counter to chat with KATY HART. Her mother senses her mood before she even opens her mouth, asking if something happened at school.

Maya goes on to lament the situation with Farkle as Katy slides a slice of pie across the counter towards her. She immediately digs in, accenting her frustration with stabs of her fork. She recounts the encounter with Farkle and derides his accusation that she’s simply replacing him with Isadora. 

> **Katy: **Well… do _you_ feel like that’s what you’re doing?
> 
> **Maya: **No. No, I’m not. God forbid I like other people or make new friends. Maybe I like Isadora because she’s badass and talented and could also kill a man if she had to.
> 
> **Katy: **Ah, the true quality of a good friendship…
> 
> **Maya:** It’s not fair. It’s not fair of him to waltz in and act like I’m the one being shady when he’s the one who blew everything up in the first place. And then make it feel like a _crime_ to move on. I shouldn’t have to feel bad about dropping someone who I don’t trust.

Katy is, of course, on Maya’s side. She agrees wholeheartedly, and even states that she likes that she’s branched outside of her usual circle. Isadora seems like a nice change of pace, and it’s always beneficial to make a friend who can teach you something rather than reflect the world you’re already familiar with.

On the other hand, she points out that there’s a whole side to this experience that Maya doesn’t know about. Neither of them have any idea what’s going on with Farkle, and it’s possible that his actions are less about her and more about his own attempts to grapple with the situation.

> **Katy:** It’s impossible to know why people do the things they do until they tell you. And most of the time, it’s rarely a cut-and-dry reasoning anyway. There are so many different motivating factors at play, _especially_ at your age.

Maya doesn’t seem convinced, stabbing at the pie and taking a grumpy bite. Katy finishes her musing, going on to state that nine times out of ten, people are acting out of their own insecurities rather than anything to do with the people who they’re confronting. Could be fear, could be jealousy, could be self-preservation…

**EXT. NEW YORK STREETS - DAY**

Charlie is walking along with Skippy, distracted as he waits for Zay to show up. He nearly jumps out of his skin when Zay sneaks up behind him, poking him in the ribs and surprising him. Charlie elbows him as he falls into step beside him, beginning to discuss what he wanted to talk about in the first place.

Zay gets right to the point, stating that he thinks Charlie should consider just… telling Riley the truth. It’s hard for her to hear him out when she has literally no clue why he even did it, and most of the reasons she’s probably contemplating make him look far worse than making her his unwitting beard for a sense of protection.

As logical as this reasoning is, Charlie does _not_ seem ready to consider such a notion.

> **Charlie:** What? No. I can’t do that.
> 
> **Zay:** Dare I ask, why not? I mean, not like _why_, I know why obviously.
> 
> **Charlie: **Yeah.
> 
> **Zay:** But like, Riley Matthews is the _last_ person you should be concerned about knowing. She’s like the nicest human being alive, and also is part of the community. And I seriously doubt she’d ever say anything to anyone if you didn’t –

Charlie cuts him off, not able to wrap his head around it. He wants to make things right with her, but that kind of option is off the table. Zay seems a bit frustrated with this mindset, as it doesn’t bode well for their relationship if he’s still so deeply entrenched in keeping all of it a secret… but he also understands. Of course he does.

It’s a complicated situation, and there is no easy solution. So they’ll keep walking the tightrope, looking for compromises along the way…

**INT. AAA - AUDITORIUM - DAY**

The techies are convened at their usual spot in the back section, chatting in the morning before class. Isadora comes to visit them, but she looks _different_. She’s suddenly looking a lot more like a Maya carbon copy, her makeup enhanced with a darker lip gloss and eye makeup. Her outfit is made up of borrowed clothes from Maya and Catherina – a high-waisted denim skirt with sheer dark tights, and dark sweater with a collar peeking out, a sparkling butterfly brooch pinned to the right lapel.

Lucas descends from the booth, decidedly disturbed as soon as he sees her. He asks her what the hell happened to her, and she claims she’s just trying a new look. Stretching her sense of style. 

> **Nate:** More like getting swallowed by it.

Isadora isn’t sure how to defend herself. To be honest, it’s not the worst to be dressed confidently like Maya, but she’d be lying if she claimed it felt true to her. Lucas can’t even look at her, pushing past her and heading out.

> **Lucas:** If you’ll excuse me, I have to go bash my head into the wall until I wake up from this nightmare. Let me know when you’ve stopped being possessed by mini-Christina.
> 
> **Dave: **Applegate? I thought she was great in _Alvin and the Chipmunks: The Squeakquel_.
> 
> **Asher:** … I think he means Aguilera.
> 
> **Dave:** Oh.

Once Lucas is gone, Asher and Dylan assure Isadora that they think she looks fine. Jade agrees, even offering to help personalize it with some more Isa-like touches if that would be ideal. Isadora contemplates it, telling her she’ll get back to her on that.

**INT. AAA - BLACK BOX THEATER - DAY**

Shawn comes by Harper’s classroom, sauntering in as he announces that it seems the Lucas and Farkle “simple solution” isn’t going so well. How does he know? Because Lucas just informed him that Farkle blew off their second attempt at a meeting.

> **Shawn: **Still so sure about your brilliant little fix?

Harper is unimpressed by his condescending attitude, sticking to her guns. She rises to her feet, coming around her desk to speak plainly with him.

> **Harper:** So you would rather bend to their poor behavior and reward them for it, rather than, I don’t know… teach them to get along? Or punish such bad antics?
> 
> **Shawn, seriously:** Listen. There’s a very delicate balance at play here with these students that you _don’t_ understand. The least you could do is take the advice of those who know better than you.

To be fair, Shawn isn’t entirely wrong. But his delivery is terrible, and Harper grows offended at the insinuation. Before she can retort, Clarissa and Haley arrive to complain about how Maya and Farkle used their rehearsal space unfairly.

This is about the tenth time Harper has taken a specific complaint about Farkle Minkus. She starts to construct a solution for them to consider, but Shawn intervenes and offers his own two cents. Once again talking over her without giving her the chance to learn the ropes or contribute.

Haley and Clarissa thank Shawn, not caring about who gives them the advice. Shawn tosses Harper one more stressed look, warning her to think a little as he storms out.

Oh, boy, is she going to think a little. And more than that, she’s going to take action.

**INT. AAA - AUDITORIUM - DAY**

Harper has pulled both Lucas and Farkle aside after class is dismissed for lunch, informing them that they’ll both be spending the break in detention in her classroom. Given that neither of them have provided her updates about their project, she’s certain they could use the designated collaboration time. That way, perhaps, they’ll at least scrape together a passing grade.

Both of them seem less than enthused, glaring at each other.

**INT. AAA - HALLWAY - DAY**

Riley is heading towards the lunchroom, but looking through the doors at all her classmates milling about and continuing on with or without her, it suddenly feels like too much. She spins on her heel and heads in a different direction.

**INT. AAA - CORY’S CLASSROOM - DAY**

Riley pokes her head in, finding Cory opening lunch at his desk. He seems surprised but happy to see her, granting her an invitation to join him when she asks if she can come in. He playfully questions why she would bother to do such a thing, giving her the opportunity to unpack what’s going on.

She sort of expresses her current feelings of isolation, explaining the general idea of the problem at hand and how she feels kind of left behind. Some of her friendships aren’t in the shape they used to be, and she doesn’t have a sense of belonging anymore.

Cory, being the dreamer that he is, encourages her to keep putting her best foot forward. In his opinion, the best thing she can do is to keep her chin high and refuse to be ignored. Not let those friends go without a fight, if they’re truly friends she wants to keep.

It’s well-meant and thoughtful advice, but nothing he hasn’t told her before. Riley seems disillusioned as she starts to chew on her lunch.

**INT. AAA - CAFETERIA - DAY**

Maya and Isadora are eating lunch together, sharing a table with Zay, Nigel, and Yindra. They’re dissecting the problem of progressing on their duet, Isadora admitting that part of it is that this is the first true performance she has to give in front of the class. Let alone alongside someone as strong as Maya. She’s just not prepared for it.

It’s stage fright, plain and simple. Maya claims she just needs to stop overthinking it, that no one is going to be focused on anything but how awesome they are. An idea seems to strike her as she’s explaining how to accomplish just that… that all Isadora needs to do is break the initial performance anxiety. And, well… 

> **Maya, deviously: **No better time than the present.

* * *

**Song Cue ♫ ♪ “Looking At Me” as performed by Sabrina Carpenter || Performed by Maya Hart (feat. AAA Juniors)**

Pushing up from the table, Maya launches us into our first big blowout number of the season. She playfully begins the iconic pop anthem, pulling her classmates into the fun as she goes and relaying the message loud and clear – Isadora has nothing to worry about, because everyone will be looking at her anyway.

The lyrics _“Don’t just stand there staring, honey, try to move your feet,”_ are directed at her duet partner, tugging Isadora into the fray and giving her the encouragement to just lose herself in the number. The two of them dance together a fair amount throughout the jam session.

The other reason it’s such a major number is because it’s the first number that loosely incorporates everyone. It carries the same energy as “Dancin’ On the Sidewalk” from all those months ago, only there’s no Lucas around to set off the alarm. And maybe he should be, because the performance is definitely fire.

The dancing has kicked up ten notches. Maya has small moments with Zay and Charlie, who also serve to lead other groups. The two of them also dance a little with each other, although evidently less comfortably than we know they could. Maya spins Isadora to dance with other fellow performers, and while she stumbles a bit at first, the more she gets into it the more confident she becomes. She’s engaging with others, focusing less on what they’re thinking and just having fun.

And when Lucas is away, the techie tots will play. There are a couple key shots of Asher and Dylan dancing together, charming as ever but also showing off that they’re maybe… actually good performers? Dave and Nate are grooving on the table tops. Nigel pulls Jade into a spin, getting her to join the dance. Jeff does some signature break-dancing.

It’s energetic. It’s a showstopping vocal from Maya, who ends it on a split with a hair flip and wink. It’s _fun_ more than anything else, which feels groundbreaking for a semester that has felt so heavy with unresolved tension.

_Now_ we’ve truly kicked off the season.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

The fun is _not_ being felt in the black box, where Lucas and Farkle are trapped for detention. They’re sitting in silence, Farkle keeping his head down and waiting for the torture to cease.

Lucas isn’t making it easy. His version of whittling time away involves tapping his pencil, restless and fidgety as they wait for their sentence to end. He’s like a one-man drum show. Farkle lifts his head in irritation, glaring at him even though Lucas hardly pays him any attention. It takes Farkle snapping to get him to stop, startling him enough to drop the pencil.

Farkle grumbles about how of course he had to get stuck with the worst human being at AAA. Lucas claims that’s rich coming from him, pointing out that it’s both of them that are stuck in here alone with one another.

> **Lucas, mockingly: **Maybe, in some sick, twisted way, we’re not so different. That’s what they want us to learn, isn’t it?
> 
> **Farkle:** Don’t make me laugh. Like I would ever be compared to you. I’m not so _immured_ by self-satisfaction and smugness that I can’t recognize how _useless_ I am.
> 
> _[ Lucas doesn’t seem irritated by this assessment. He smirks, nodding along as Farkle reads him for filth. ]_
> 
> **Farkle:** I don’t try to bring everybody else down to my level by constantly tearing down their passions until all that’s left is my _insatiable_ need to burn down every good thing that crosses my path just for the sake of chaos. Just to fucking feel something other than my own _overwhelming_ mediocrity that’s going to keep me directionless and _alone_ for the rest of my sorry existence.
> 
> **Lucas:** … maybe so. But I think I should point out that it’s _both_ of us who were deemed too unbearable by the rest of our peers.

Farkle glowers at him until he can’t stomach his detached expression any longer, looking away and gritting his teeth. While they may hate one another, the fact of the matter is so does everyone else. So there they are, stuck in hell together and facing the consequences.

The silence is suffocating with the truth eating away all the oxygen in the room. When the bell rings it’s an immediate relief, Lucas jumping to his feet.

> **Lucas: **Well, I think we can both agree this assignment is not fucking happening. Guess we’ll be taking the L.
> 
> **Farkle: **… maybe so.

Lucas nods, not wasting another second to get away from him. Farkle doesn’t move nearly as fast, still processing the reality Lucas forced him to confront.

**INT. HARPER’S APARTMENT - NIGHT**

Harper is having dinner with her girlfriend, STELLA CASTILLO (27). She’s also a former alumni of AAA, and their dynamic somewhat seems to mirror Isadora and Maya in terms of personality. Stella is lively, opinionated, and not at all impressed by the behavior of Shawn and the students as Harper laments the treatment she’s been navigating.

Stella gives Harper the pep talk she’s been needing, reminding her that she’s perfectly qualified to be in this position. She needs to trust her gut.

> **Stella:** Look, you know about Triple A, alright? You endured that school, you survived it, which is way more than John or whoever can say for himself.
> 
> **Harper:** Shawn.
> 
> **Stella:** Like it matters. The point is that you’re a badass, you’re in control, and you should not be bending to the criticism of some grumpy white dude who thinks he’s the authority on a job his older brother gave him when he was having his mid-life crisis.

True words, even if the nuances to the situation are a bit more complex. Harper thanks her, taking her hand and allowing her to lean forward and give her a kiss.

Still, the universe seems to disagree…

> **Jack, pre-lap:** This has nothing to do with your ability.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is meeting with Harper before school. From the expression on his face it’s evident he’s apologetic, whereas she simply seems peeved. She’s squinting at him, attempting to keep up with their conversation.

> **Jack:** Believe me, I hired you for a reason. You know I think you’re more than capable of handling this job. But Shawn is correct in that this crop of students… they’re a unique group, like I’ve said. He might be right in that it could help for you to pay attention to –
> 
> **Harper: **So, what? Your baby brother decided to come crying to you about things not going his way, rather than discussing it with me like an adult?

Jack assures her that he’s not on anybody’s side, and he just wants to find a way for them to work effectively together and in a way that best benefits the students. But Harper is so angry at that point she sort of tunes him out, simply smiling and nodding along.

* * *

**INT. AAA - ATRIUM - DAY**

**Song Cue ♫ ♪ “I Can Do Better” as performed by LOVA || Performed by Harper Burgess**

As Harper emerges from the office, the opening whistles ease us into this sassy “fuck you” of a feminist anthem. As she marches through the halls in her leather-clad, badass fury, there is a certain power to her finally expressing all of her resentment towards the men who have been giving her grief since she stepped into the position (even in spite of all the complexities to each situation).

The AAA girls back her in passing, echoing the empowering sentiments. It’s a simple arrangement, but Harper’s delivery alone packs a real punch.

* * *

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Isadora is in the dressing room when Riley arrives that morning, the two of them hesitating when they see one another. It’s been a hot minute since they’ve actually had direct contact, and although both of them don’t seem _unhappy_ to see the other, they have no idea where they stand.

Riley makes a small joke about her new look, admitting that she actually thought she was Maya for a second. Although the comment is harmless, after enduring similar commentary all week long Isadora finds herself snapping at her. She’s sick of everyone making those judgements and throwing their opinions at her.

Riley is quick to apologize, explaining that she didn’t mean anything by it. Awkward silence settles between them again, but it’s clear that Isadora feels bad about the way things are.

> **Isadora: **I… I don’t know how to handle this situation.
> 
> **Riley:** I know.
> 
> **Isadora:** With you, and with Lucas –

She cuts herself off, not even sure she should bring him up around her. Riley nods along, already knowing where this conversation is heading. Another dismissal. Before Isadora can say anything more, she beats her to it.

> **Riley: **I just… I know how easy it is to get caught up in being someone else because you think it’ll make things easier. It’s easier to be someone else, sometimes… but I gotta tell you, the Dora I knew? _[ a beat ] _She’s already tough to beat.

Riley offers one more tight smile, finishing dropping her things. She leaves Isadora alone, hanging on that moment of kindness in spite of the strain.

**INT. AAA - BLACK BOX THEATER - DAY**

Harper marches into her classroom, still steaming. Farkle is there, waiting for her to inform her that he and Lucas weren’t able to reach an agreement. He doesn’t think he’ll be turning in anything this week after all.

Whereas this behavior might’ve flown with Angela, it’s not going to fly with Harper. Especially not now, when it feels like the entire world is against her. So Farkle inevitably ends up on the other end of all her anger, receiving a true verbal lashing.

> **Harper:** Oh, is that so? You just don’t think it’ll happen? That all?
> 
> **Farkle: **I’m just saying, given the circumstances you forced me into –
> 
> **Harper:** No, no, I won’t be taking your blame, Mister Minkus. I don’t know what kind of treatment you’re used to from Miss Moore, but I’m not here to cater to your petulance. I’m here to teach you, which you might have known had you deemed it worthy to show up on the first day.
> 
> **Farkle, stunned: **I… I was sick –
> 
> **Harper: **Well, here’s your quick make-up lesson. There will be no more doing whatever you damn well please. I knew students just like you when I was enrolled here, Mister Minkus. You’re nothing new. And believe it or not, that horrible attitude of yours isn’t going to get a pass anymore.
> 
> _[ Farkle is speechless. He looks a little sick as Harper concludes her tirade. ]_
> 
> **Harper: **This isn’t last year. I’m not Miss Moore. And whether we like it or not, you better get ready for a whole lot of change.

Harper storms out, on her way to the auditorium. Farkle is shell-shocked, standing there in horror… until he suddenly bolts out of the door.

**INT. AAA - BOYS BATHROOM - DAY**

Farkle ducks into a stall just in time to vomit, whole body shaking as he collapses back against the wall. Only he’s not alone, which he discovers after the initial panic passes through him.

> **Charlie:** … Farkle?

Farkle closes his eyes, cursing lightly to himself. When he pushes to his feet and emerges from the stall, Charlie is there at the sink and watching him warily. He tries to question if he’s okay, but Farkle ignores him and focuses on rinsing out his mouth at the adjacent sink.

Charlie can tell there’s something more going on than just an upset stomach. He’s familiar with the feeling, after all. He tries to find a way into the conversation, searching for a commonality to utilize as a bond.

> **Charlie:** I get that this year isn’t turning out like we probably thought. _[ sardonically ]_ I guess the confessions page didn’t do either of us any favors, huh?

Farkle is unimpressed by his attempt at bonding. In fact, the comparison sort of seems to piss him off. He turns on him, narrowing his eyes.

> **Farkle:** Actually, I don’t think it’s quite the same. Because I didn’t feel so insecure in my own masculinity that I had to submit fake relationship posts about myself just to feel good, or maybe feel like I’m not just a background character in my own life.

Yikes. That’s a deep cut, and Charlie gets the message to back off. Farkle wipes his mouth with a paper towel and takes a deep breath, defaulting to defensive because it’s increasingly becoming all he knows how to be.

> **Farkle:** So, no. I don’t think you have any idea.

Farkle flurries out. Although it’s clear his words stung, concern still lingers in Charlie’s features. Like he can sense something about the situation isn’t quite right.

**INT. MATTHEWS APARTMENT - NIGHT**

In a rare moment, Riley manages to catch TOPANGA LAWRENCE when she’s at home. She’s just finishing up a business call, pleasantly greeting Riley as she comes to join her at the kitchen table. Riley isn’t sure what she’s searching for as she starts the conversation – advice, or maybe to simply be acknowledged by someone – but she ends up asking for more time with her.

> **Riley: **I know you’ve been doing a lot of small things with Auggie, and everything, so I was thinking that… I don’t know, maybe you and I could also –
> 
> **Topanga: **Oh, yes. Yes! Riley, I would love to do something. Some mother-daughter quality time would be spectacular.

Riley lights up, obviously happy about her mother’s enthusiasm. They begin attempting to sort out dates, although that quickly throws a wrench into things before they even get off the ground. Where Topanga is free this weekend, rehearsals for the musical are kicking up. When Riley is free, Topanga is balancing major trial meetings.

> **Topanga: **Okay, I love this idea. But can we come back to this? Put a pin in it? I’ve just got a lot of stuff up in the air right now, I’ll be able to give it more focus after this deposition is wrapped and our divorce is fully finalized…

Riley internalizes her disappointment, giving her a smile and assuring her it’s no problem. Topanga reaches across the table and pats her arm, effectively ending the conversation.

**INT. GARDNER HOME - CHARLIE’S ROOM - NIGHT**

Charlie is on the phone with Zay, pacing his room as they talk. It’s clear that seeing Farkle so wigged out earlier really got to him, so he’s confronting some of his stressors head on.

> **Charlie: **I just wanted you to know how sorry I am about how… weird all this has been. With my stupid thing. I know it’s been impacting… what we have.
> 
> **Zay:** It’s not stupid. You know I get it.
> 
> **Charlie: **Yeah, I know, but… _[ with a sigh ]_ things were so much easier when school wasn’t a factor. I know I’ve been coming off like how you feel about this isn’t important, and that’s not true. I don’t feel that way. I wish it didn’t feel that way.

Zay continues to assure him that it’s fine, but his responses sound admittedly a little distracted. Charlie continues to pace, coming to lean against the door to his balcony.

> **Charlie:** I just wish… in an ideal world, things would be different. We could just… be what we are, and _we_ could be doing a duet together this week. Couldn’t it be that easy?
> 
> **Zay:** Well, don’t count that out just yet.

Charlie frowns, asking what he’s talking about. Zay tells him to come outside.

**EXT. GARDNER HOME - CHARLIE’S BALCONY - NIGHT**

Charlie steps out onto his balcony, stunned to see Zay jogging down the street. He’s both happy and horrified to see him, immediately shushing him as he greets him from down below.

* * *

**Song Cue ♫ ♪ “Tonight” as performed by _West Side Story _Original Cast || Performed by Zay Babineaux & Charlie Gardner**

In homage to the sequence in the Broadway classic, Charlie and Zay exchange an effortless back and forth reminiscent of the original film as the orchestra underscores them.

> **Zay: **Come down.
> 
> **Charlie: **No. Are you crazy?
> 
> **Zay: **Just for a minute.
> 
> **Charlie:** _[ gazing at him ] _… a minute is nowhere _near_ long enough.
> 
> **Zay: **For an hour, then.
> 
> **Charlie:** I can’t.
> 
> **Zay, with humor: **Then forever!

Charlie shushes him again, glancing over his shoulder to make sure his door is closed. Zay tells him he’s coming up, climbing his way along the side of the house to join him on his balcony. When he manages to clamber over the side Charlie immediately pulls him away from the edge, speaking in a hushed tone and claiming that he has to go. His parents will hear him, or see them. As he tries to argue the point Charlie shushes him again, Zay returning the gesture playfully.

It’s all fun and games until Eleanor knocks at the door, Charlie covering Zay’s mouth and responding to her questions of if he’s heading to bed. He lies and claims he is, Eleanor not questioning it and giving him a warm “goodnight, Chuckles,” through the door.

The two of them hang in silence for a long moment, Charlie grimacing as he realizes Zay just heard his embarrassing family nickname. He curses and pulls away from him, walking to the other end of the balcony as Zay clearly attempts to hold back a smile.

> **Zay: **… Chuckles?
> 
> **Charlie, embarrassed: **Family nickname.
> 
> _[ Zay laughs, but it’s endeared. He steps closer to him, earnest. ]_
> 
> **Zay: **I like it. And you know, I think they’d like me.
> 
> **Charlie:** _[ with a shake of his head ] _No. They’re like I used to be. You know… scared.

There’s a beat of heaviness between them. Then Charlie exhales a laugh, shaking his head again and walking away from him as he absorbs the ridiculousness of the situation. 

> **Charlie:** Can you imagine? Being scared of Isaiah Babineaux?
> 
> **Zay:**_ [ laughing along ]_ See?
> 
> _[ There’s a beat. Charlie looks at him, expression soft. ]_
> 
> **Charlie:** I see you.
> 
> **Zay, softer:** … see only me.

Zay kicks off the song, taking Maria’s verses where Charlie takes Tony’s (specifically _“There’s nothing for me but Isaiah / Every sight that I see is Isaiah”_). The two of them harmonize together in the small confines of the balcony, dancing and spinning together where possible.

Where it was pretty obvious earlier that they were into one another, this is the moment where their chemistry and affection for another is impossible to deny. There’s something deeper than just attraction between them, growing more resolute with every day and every duet they share.

As it slows down before the second verse, Zay and Charlie have drifted awfully close together for being feet away from the rest of the Gardner household. Charlie manages to pull back from him simply to continue the dance, but as they wrap the first section of the song they end up inevitably back inches apart again.

Still, even the allure of Zay Babineaux isn’t yet powerful enough to make Charlie forget the way things are. He resists the urge to go for a kiss and instead claims he can’t stay, insisting that Zay should get going. Although he protests, Charlie’s soft “please” and bittersweet smile are convincing enough to make him oblige.

As Zay starts climbing down again, he hesitates. Thinking there’s one more thing he needs to say, lest he regret not vocalizing it in the moment.

> **Zay:** You know, at the risk of sounding totally kitsch… _[ turning around, locking eyes with him again ]_ You know you’re my favorite duet, right?

Charlie is clearly touched. A bashful smile crosses his features, and he manages a nod and a soft “yeah” of agreement. Zay returns the nod, giving him a fond smirk and lingering look before finishing the rest of the climb down the side of the house.

As he goes, Charlie leans forward against the balcony and watches him go. He hesitates before calling after Zay, double-checking that they’ll still meet up before school tomorrow. Zay agrees, starting to head down the street… until Charlie stops him again. He asks if they can ditch lunch and pay a visit to the costume loft instead. Zay rolls his eyes, but he’s _obviously_ not opposed to the idea. He agrees, only making it a couple of steps before Charlie stops him one more time.

> **Charlie:** Do you have a family nickname?
> 
> _[ Zay pauses, debating whether or not to share it. Then he sighs, looking over his shoulder to deliver it. ]_
> 
> **Zay, reluctantly:** “Dizzy.”
> 
> _[ Charlie can’t help but laugh, but he’s appreciative of his willingness to share. His grin is fond as he gazes down at him. ]_
> 
> **Charlie: **See you tomorrow, Dizzy.
> 
> **Zay:** _[ unable to hold back a smile ] _See you, Chuckles.

They hold each other’s gaze for a moment longer, easing into the last soft verse of “Tonight.” Then Zay jogs back down the street, disappearing as swiftly as he appeared.

* * *

Charlie watches him go, undoubtedly enamored. He’s still smiling as he steps back into his room, shutting the door to the balcony behind him.

**INT. MINKUS HOME - FARKLE’S ROOM - NIGHT**

Farkle is doing homework in his room, a half-eaten plate of food sitting forgotten on the bed in front of him. Jennifer pokes her head in, lightly knocking and trying to engage him in conversation. She notes that he didn’t eat much, which he brushes off by stating he felt nauseous at school so he’s just taking it easy.

Jennifer comes in to check his forehead and lymph nodes again, wondering when this relentless bug he has is going to let him live. Farkle shrugs away from her, insisting that he’s fine. He’d be better, in fact, if she could let him rest.

She relents, but pauses as a thought hits her on the way out. It’s unclear whether this is a brand new thought, or perhaps one she’s been ruminating on for a while.

> **Jennifer: **You know, when do you think you’ll have Maya over again?
> 
> **Farkle: **I don’t know.
> 
> **Jennifer: **I’ve only been thinking, it might be good to have some of that vibrant theater energy around here again. Don’t you think? Maybe you should extend the invitation.
> 
> **Farkle, tightly:** I’ll do that.

Given how poorly their last interaction went, we know it’s a lie.

**INT. AAA - DANCE STUDIO - DAY**

Riley shows up to the dance studio early the next morning to rehearse, Zay already there when she arrives. She makes a joke about how she’s surprised he beat her here, but he states that was sort of the point. He also has something for her – her favorite coffee order, as well as a scone from Svorski’s he’s deemed the “apology scone.”

> **Riley:** Well I’m not going to say no to that. “Apology scone?”
> 
> **Zay: **Suffice to say, I’ve sort of been all over the place this week. There’s just… a lot going on. But a conversation with someone close to me recently made me realize that it’s important to let people know how much you mean to them.

He goes on to state that while she was the one with her head in the clouds last year, now it’s on him. He fully intended to be there for her this week and he dropped the ball, but no longer. And they’re always going to be in each other’s corners, a shoulder to lean on if they need it, which is a far cry from how many of the other dynamics in their class are doing at present.

Then, of course, they’ve still got a duet to perform. Zay takes the coffee and scone and puts it back on the piano tucked into the corner. He spins back to face her and holds out a hand.

* * *

**Song Cue ♫ ♪ “I Like Me Better” as performed by Landon Austin || Performed by Zay Babineaux & Riley Matthews**

Riley takes his hand, and Zay leads the vocals on this comfortable, endearing acoustic duet. The two of them pass around the verses as they playfully dance together in the studio, demonstrating the iron strength of their friendship.

**INT. AAA - AUDITORIUM - DAY**

The rehearsing is intercut with their final performance in class, Riley playing the guitar and harmonizing while Zay does most of the singing. It’s a stripped down rendition, no flash or glitz. But their voices blend well together, and it’s a nice change of pace.

As they wrap the number, Zay reaches out and takes her hand while the class gives them a round of applause. Back in the dance studio, Riley laughs and the two of them embrace.

* * *

A nice bright spot in the midst of so much uncertainty.

**INT. AAA - JACK’S OFFICE - DAY**

Harper stops by Jack’s office, finding the principal in the midst of picking through some particularly confusing correspondence. She questions what he’s puzzled over.

> **Jack: **Oh, nothing, nothing… there’s some interested parties attempting to enroll despite our strict enrollment procedures. It’s fine, there’s always a few of these at the start of the school year.

He asks what he can do for her, to which she explains what happened with Lucas and Farkle and how they refused to do the assignment. She’s decided she’ll be punishing them both, as is in within her right as their teacher. Given the behavior she’s observed from both of them, she thinks they could use the discipline.

Jack seems supportive of the authoritarian stance, but he requests that she let him handle Lucas. Whatever she feels Farkle might need she should do within reason, but he’ll take care of their waspish technician. Harper is confused by the distinction, but is more than willing to let him take on the troublemaker so she doesn’t have to.

As Harper heads out, Jack takes another look at the paperwork about enrollment requests. He shakes his head, putting it dismissively to the side.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Isadora pokes her head in, relieved to find Maya getting ready and touching up her makeup before their class performance. Maya greets her cheerfully, only some of her confidence falters when she sees Isadora’s change of appearance.

She’s back to looking more like herself, basically back to her usual attire. However, touches of Maya’s influence still remain, such as a simple necklace that Maya had given to her as part of her makeover, her hair up in a pastel scrunchie, and colorful socks on display that have a pretty pattern on them.

Based on that change alone, Maya has a feeling that this conversation isn’t going to go well. She jokes that she’s somehow inevitably strangled another friendship in her own image, but Isadora refutes this.

> **Isadora: **I’m glad you asked me to be partners. And I’m honestly grateful for your friendship, in some ways I kind of feel like it was something I didn’t know I needed. I think I’m going to learn a lot from you.
> 
> **Maya:** Go on, let me down gently. But…?
> 
> **Isadora: **But… I don’t want to completely become someone else to do it. And part of that is on me – I think I become so focused on what the other person expects that I forget they should be liking me for me. So I sort of let things spiral out of control.
> 
> **Maya: **Doesn’t help when the other person is a diva control freak.
> 
> **Isadora:** _[ with a shake of her head ]_ That’s called passion, and it’s not a bad thing. I’m just… trying to find the balance.

This, Maya can understand. Given how she is reevaluating her own image too now that she’s no longer pretending to be Prada, she gets that feeling more than ever. Isadora does comment that she does like some of Maya’s clothes, and might do a little personalizing of her own style to incorporate the things she likes. She jokingly tugs at Maya’s collar, disrupting the perfect crease.

> **Isadora: **Maybe we can “grunge” you down a bit, too.
> 
> **Maya:** _[ intrigued ]_ Oh, don’t try and stop me.

They exchange a laugh. Isadora admits she isn’t sure what this revelation will mean for their performance, but Maya is already brainstorming. She tells Isadora to focus on her killer vocals, and to leave the rest to her.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “God Is A Woman (Acoustic)” as performed by Ceresia || Performed by Isadora De La Cruz (feat. Maya Hart)**

Maya and Isadora follow Riley and Zay’s toned down lead, ditching the hyped up pop performance for something more stripped. Maya plays guitar while Isadora takes the brunt of the vocals, allowing her the chance to show off her already strong pipes while still having the flexibility to find her sound.

It’s also a change of pace that Isadora is front and center while Maya is taking a back seat, a far cry from her triumphant claim to center stage at the beginning of the year. The rendition and the way they harmonize is an indication of growth for the both of them.

Perhaps, they’ll be able to find the balance for both of their personas. All in due time.

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Lucas is back in the chair opposite Jack’s desk, the tone of the meeting a little less casual than it was earlier in the week. Jack finishes reprimanding him for his refusal to participate.

> **Jack:** Look, you’ve made good strides compared to the last couple of years. We haven’t had a complaint from the fire station at all this year.
> 
> **Lucas: **Yeah, well, stuff gets old after a while. _[ with a mocking pout ] _I’m tired.

Although it’s said like a joke, it feels like there’s some truth to the statement that Lucas won’t analyze for himself. Jack changes tracks, pointing out that for all the progress he’s made, it’s incredibly easy to back slide. And if he keeps disrespecting Miss Burgess or blowing off assignments, it’s going to come back to bite him.

Lucas questions if that’s the extent of his punishment, to which Jack simply laughs. He comes around the desk and leans against the front of it, tilting his head. 

> **Jack:** You remember stage-managing the musical last year, right? Intense job, lots of responsibility, you told me you’d rather down a bottle of drain cleaner than ever do it again? _[ Off Lucas’s disdainful expression ] _Well, do I have news for you, buddy.

Lucas frowns, looking more than displeased. Here we go again.

**INT. AAA - SCRIPT LIBRARY - DAY**

The door opens to a darkened, dusty closet, Harper grappling to find the light switch. As the cramped space is illuminated she and Farkle are framed in the doorway, showing him what his punishment will be. For the duration of the semester, he will be spending lunches and free periods assisting with technical jobs.

One of these involves cleaning out and organizing the script library, which is a mess of piles and piles of scripts that need to be alphabetized and sorted neatly. Better get to work.

Farkle saunters into the room as Harper leaves him to it, picking up the first play of hundreds. _Death of a Salesman. _He sighs and places it in a new pile, beginning the tedious job all alone.

**INT. AAA - ATRIUM - DAY**

Riley is heading out towards the main entrance as the bell rings, other students filing out. A couple of her classmates give her props on her performance or bid her goodbye, but no one stops to actually have a conversation. Riley keeps her smile on, though it’s thin.

She spots Lucas as he’s stepping out of the main office. The two of them lock eyes across the atrium, another weighted moment passing between them. So much left unsaid. So much they could say, if they could just talk about it.

But it doesn’t look like that’s in the cards. Lucas walks out the front doors in a hurry, not even looking back at her for a second glance.

Riley exhales, closing her eyes and trying to push past it. She stuffs her hands in her pockets, surprised as she remembers the note she hastily stuffed in there earlier in the week. She pulls it out and unfolds it, looking at the scribbled declaration of admiration.

_“You’re better.”_

Tentatively, she twists the note in her fingers. Then she’s crumpling it, making it as small as it can possibly be. Destroying it as quickly as everything else seems to have crumpled into nothing.

She drops it into the waste bin as she exits the building.

**INT. AAA - HALLWAY - DAY**

Isadora is at her locker, gathering her things. In the inside door, the same photo of her, Riley, and Lucas is hanging up that Riley has in her locker.

She looks at it, obviously reminiscent. She pulls out her phone, opening her thread with Riley and trying to think of something to say. Wondering if there’s anything to say at all. She certainly doesn’t know, like she told her earlier.

The contemplation is interrupted as Maya comes up to her, energized as usual. She shows off the new patches on her denim jacket.

> **Maya:** Check it out. Already beginning the _Izzy-fying_ of my wardrobe. You inspired me.

Yindra and Zay pass by them, asking if they’re all still planning on hitting up Chubbie’s. Maya asks if Isadora is coming, to which she tells them she’ll catch up with them in a second. She hesitates for a moment longer, glancing at that photo one last time.

Then she closes the door. The last image we see is the photo of the three them, sealed away in the closed, dark locker.

** _END OF EPISODE._ **


	6. Are We Out of the Woods [ 2.03 ]

**Summary for the Chapter:**

> WRONG THINGS, RIGHT THINGS – Disaster strikes rehearsals for the fall musical when a major vandalism throws everyone off schedule. As the junior class points fingers at prime suspects, Riley and Isadora attempt to clear a good friend’s name. Although only one student is responsible for the crime, more than one of them is lying.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**A black screen, only for a moment, as NIGEL CHEY cues us in…**

> **Nigel:**_Once upon a time_ –

**INT. AAA - HALLWAY - DAY**

**Song Cue ♫ ♪ “Prologue: Into the Woods” as performed by_ Into the Woods_ Original Broadway Cast || Performed by AAA Juniors**

The orchestration of the seminal Broadway class launches us into the musical-centric episode for the season. The camera eases its way down the hall, students running by in costume or techies giving tasks to one another as they go. A set piece, half in progress, is pushed by JEFF MONROE back into the auditorium through the dressing room doors.

On the wall outside the black box theater, a poster for the musical is up: _Into the Woods_ (in case the first song hadn’t tipped us off). On the bulletin board outside, the cast list is still posted, where all of our main players have initialed next to their given roles.

**INT. AAA - AUDITORIUM - DAY**

On the stage, set still in progress but nearly complete behind them, our main players are doing a run through of the opening number in real time. This is where our first true taste of the casting comes into focus, RILEY MATTHEWS as **Cinderella** stage right, CHARLIE GARDNER as **Jack** with his prop cow at center stage, and FARKLE MINKUS taking on the role of **The Baker** with YINDRA AMINO as **The Baker’s Wife** stage left.

Other roles are introduced as they step into the number, such as ISADORA DE LA CRUZ as **Little Red Riding Hood**, and MAYA HART as **The Witch**. However, the opening prologue is a lengthy piece, and there’s much more going on that shares focus as we settle into Sondheim’s musical world.

For example, LUCAS FRIAR is in the midst of conversing with DAVE WILLIAMS over the construction of their most complex set piece. It’s nearly complete, and Dave has been slaving away over it for weeks. It’s clear that he considers it his baby at this point. He speaks about it with overt enthusiasm, slapping DYLAN ORLANDO’s hand away as he tries to touch it.

Unfortunately, Lucas isn’t in the mood for enthusiasm. It’s clear Dave is getting on his nerves with his perfectionism, warning him that they’re running out of time to finish the damn thing, so he’s going to have to either hustle or settle for less than perfect.

> **Dave:** You can’t rush _art_.
> 
> **Lucas, flatly: **It’s a fake hill with fake trees.
> 
> **Dave:** Shh! It’ll hear you!

NATE MARTINEZ exchanges a look with Lucas, assuring him that they’ll get it done. Dave continues to assure the set piece that Lucas didn’t mean it. He’s just stressed, once again in a role he doesn’t want to have. And ain’t that the truth…

Meanwhile, SHAWN HUNTER and HARPER BURGESS are at odds yet again. They’re quietly arguing in the front and center section as the rehearsal progresses, Shawn pointing out that giving Isadora such a large role has seriously depleted her ability to help the techie brigade.

> **Harper: **Perhaps you shouldn’t put such an exclusionary attitude on the techies, and teach some of the performers who didn’t get roles to work.
> 
> **Shawn: **That would take more time than our current crew doing it alone.
> 
> **Harper: **Well, then maybe you should’ve been doing that the whole time. Hindsight truly is 20/20, isn’t it?

Harper is done with the conversation, turning her focus back to the rehearsal. Shawn rolls his eyes, running a hand through his hair before marching off in the other direction.

In the wings, ZAY BABINEAUX is conversing with NICK YOGI and SARAH CARLSON. The boys are dressed in their costumes for their roles as **the Princes**, looking pretty sharp. Although he seems unbothered, Sarah makes an offhand comment about how Zay was duped for a leading role _again_ by Farkle. That’s a shoddy track record, especially with Farkle being kind of universally disliked at this point.

> **Sarah: **Guess talent really is the ultimate factor, isn’t it?
> 
> **Zay: **Please, time on stage does not equate best performance. The Prince is a far more interesting and fun role anyway.

A true statement, perhaps, but there’s an equal amount of truth to Sarah’s earlier statement as well. Despite how well he brushes it off, there has to be a frustration to constantly taking a backseat to the villain of Adams’ history.

Focus shifts back to the actual number when Maya is laying down the required items for the Baker family to get their wish. As the rest of the rehearsal unfolds and each core character begins their journey into the woods, the performances clearly show off _why_ the show was casted the way it was. As usual, the choices seem to be spot on.

That being said, Farkle’s perfect casting doesn’t stretch into his overall state. He doesn’t seem… on top of things, for what it’s worth. He’s lacking his usual pop of energy, and there are small moments as the last minute unfolds where he’s actually starting to look a little unsteady.

This comes to a head when they reach the final chorus, Farkle front and center as they sing the final harmony. He gets through the note and then promptly **collapses**, sending the screen into black as everyone reacts in concern and shock around him.

* * *

** _Cue title sequence._ **

**INT. AAA - TEACHER’S LOUNGE - DAY**

A blurry visual fades us in from the titles, fading in and out of black until the vision stabilizes: the ceiling with speckled tiles, lighting dim in the lounge to make for a less intense setting.

Farkle blinks, confused as he comes back to consciousness. He lets his gaze drift, allowing more things to come into perspective. This includes the three people looking at him – Charlie, kneeling next to him with a cold compress, having been the first one to jump to his aid; Riley, watching in concern but not quite ready to be right at his bedside; and lastly Lucas, glaring at him from over his shoulder and reminding him how to feel fear.

> **Charlie:** Farkle? Can you hear me?
> 
> **Farkle:** What the hell is going on?

Zay darts in with another cold compress, exchanging the old one with Charlie. He tries to put it on Farkle’s forehead, but he pushes his help away and struggles into a sitting position instead.

> **Riley: **You fainted.
> 
> **Zay: **Scared the hell out of everyone.
> 
> **Charlie: **People just weren’t expecting it. Are you okay?
> 
> **Farkle:** … oh, so now you all suddenly care? Just because I took a little tumble?
> 
> **Lucas:** Don’t flatter yourself.

Harper enters, tailed by ERIC MATTHEWS and the school nurse. Eric instructs all of the other students to go back to rehearsal and give Farkle a little bit of space. They obey, Zay patting Charlie’s shoulder as he glances back over his shoulder in concern.

While Eric is able to settle right down with the nurse and address Farkle, Harper keeps her distance. The two of them have had a strange relationship from the first week, so she’s even more uncertain how to handle this situation. She awkwardly wishes Farkle well and says he can come back to rehearsal as soon as he’s more steady.

As she leaves, Eric begins questioning Farkle on the status of his health. Has he been feeling sick? Is he drinking enough water during rehearsals? Farkle is able to answer things pretty pointedly, until Eric starts gearing the conversation towards more mental areas. Is he getting enough sleep? How are his eating habits? He dodges by answering vaguely, but it’s unclear whether he genuinely doesn’t really know or if he’s just wary of discussing his current emotional state.

**INT. AAA - AUDITORIUM - DAY**

Isadora makes her way across the stage towards where the techies are working on the major set piece, getting sidetracked by Maya. She eagerly wonders whether or not Valerie has responded to Isadora’s invitation to come see the show. Isadora claims her starlet mother _is_ in fact planning to be in attendance, and the two of them share a moment of excitement.

Maya lets her go, leaving her to approach her former usual crew. Lucas, Nate, and Dylan are arguing about a feature of the set piece that still isn’t complete. It was supposed to be Farkle’s job as part of his punishment, but considering he’s in rehearsals ninety percent of the time and is now sick, they’re going to have to pick up the slack.

Isadora swoops in just at this moment, asking how things are going. Dylan relays the situation in quick terms, and while Isadora attempts to begin brainstorming like old times, it’s evident that the boys aren’t really all that interested in what she has to offer. In fact, there might be some resentment already in place considering how her focus is split in rehearsals as well.

> **Nate: **Well, you know, maybe you could actually help if you weren’t so double-booked.

The moment passes before she can form a retort, Dylan offering to take up the extra work. They settle it and break without further discussion. Lucas heads off in another direction without waiting up, so Isadora has to jog to keep up with him as he begins the long journey through the auditorium towards the booth. He claims they’re both busy and maybe don’t have all that much time, but Isadora seems determined to have a conversation.

> **Isadora:** I just wanted to let you know that my mom is planning on coming to opening night. I know how you feel about her, so I thought you might like the warning. You know, so you can take your civility shots or whatever you need to do.

Lucas is clearly displeased by this information, but he covers it with nonchalance. He doesn’t buy that she’ll actually show, but Isadora is welcome to get her hopes up if that’s what she feels like spending her energy on.

It’s frustrating, how conversations seem to have this edge between them these days. Isadora charges onward regardless, shifting gears and pointing out how brusque Nate was to her. With Lucas also sort of giving her the brush-off, she attempts to get a read on if they’re really pissed.

> **Lucas:** Look… I don’t know. I guess we just didn’t realize that you doing the musical was going to be like… a recurring thing. I figured after The Miserables –
> 
> **Isadora, without thinking: **_Les Mis_.
> 
> **Lucas:** … did you just _correct_ me?

Whoopsie. Rookie mistake. Isadora tries to recover, quickly changing the subject and pointing out that they handled the production of things totally fine without her last year. She has no doubt that they’ll be able to pull it off again.

> **Isadora:** Besides, you guys really did a great job with _Les Mis_ –  

> 
> **Lucas: **THE MISERABLES.

Clearly, this conversation is not going to produce positive returns. If Isadora was searching for reassurance that her footing with the techies was all well and good, she’s not going to find it here and now.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Meanwhile, rehearsal must go on, so they’re gearing up to move forward on numbers that don’t require Farkle to run through. Harper finishes telling the boys this before giving them a five minute warning. Zay and Yogi finish getting into costume, their duet as the princes the next one up that fits that criteria.

> **Zay:** Well, if our supposed leading man is going to sleep on the job, Yogles and I will be happy to pick up the slack. Not that we really _need_ the practice –

Nigel rolls his eyes, exchanging a look with Charlie. Charlie can’t help but smile, eyeing Zay as he’s getting ready to march back out onto the stage.

> **Zay:** But, well, the show must go on.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Agony” as performed by _Into the Woods_ Original Broadway Cast || Performed by Zay Babineaux & Nick Yogi**

Perhaps the most straightforward performance we’ll get all episode, Zay and Yogi take their rehearsal time seriously and deliver an entertaining rendition of the princely duet. However, the duet in it of itself is theatrical and over the top, so maybe “seriously” isn’t the right word.

In any case, it’s clear that Zay wasn’t kidding when he claimed they hardly needed much more rehearsal. He completely owns the stage, demonstrating how much that summer confidence has done for him. Harper is thoroughly enjoying the performance, as well as their classmates as they watch from the wings. Riley and Maya laugh along; Charlie is totally enthralled.

* * *

When they wrap, Harper gives them a quick congratulations for actually being on top of their roles. Zay gives a cheeky little bow, exiting the stage with a flourish.

**INT. AAA - DRESSING ROOM HALL - DAY**

Riley is on the hunt for Zay, aiming to tell him he did a great job and potentially thwart any diva meltdown that might be brewing before it can take hold. He’s nowhere to be found, but she accidentally runs into Maya and Isadora instead.

Maya is in the midst of talking Isadora down from stress over the rehearsal process, the latter just finishing up lamenting how she can’t help the techies and that might be becoming a real problem, but she’s stressed that she can’t keep up with the performers either.

They both grow quieter when they realize they’re not alone, Riley giving them a tight smile. She apologizes for interrupting them, but Maya claims it’s fine as she actually has to go get ready for her own number. She backs off, giving the two of them the potential to talk.

There’s still an uncertainty between them, but it’s clear that Isadora isn’t unhappy to see her. Riley timidly ventures some advice based on what she overheard, explaining that she knows all too well how it feels to be the one who can’t keep up. She has no doubt that Isadora will catch up in no time, though, and she shouldn’t forget that she’s in this role for a reason.

Considering the walls Isadora has been hitting with Lucas and the techies, hearing such blatant encouragement is a welcome change. She nods, giving Riley a quiet thanks.

**INT. AAA - AUDITORIUM - NIGHT**

The doors to the hallway on the opposite end of the stage kick open, Dylan and ASHER GARCIA arriving and declaring that they’ve successfully picked up the new supplies from Home Depot. It’ll take a lot of help to move it all, so all the techies head out to assist.

Harper is pacing the stage, determining who still needs to hang around for evening rehearsal. Farkle returns from the teacher’s lounge, looking less pale but still tired. Still he jogs up to Harper anyway, reporting for duty and asking if he should start working on one of his numbers again. Maybe “It Takes Two,” if Yindra is around?

Uncertain how to address him, Harper sort of blows him off. She claims they can probably hold off on his other performances until tomorrow, and perhaps he could use the additional rest. The last thing they need is another collapse. He grows frustrated at the dismissal, asking if he should then keep working on the set piece, or go back to the script library. There has to be _something_ he can do – but Harper has made her decision.

> **Harper: **Farkle, you’re done for the day. Go home and rest. We don’t need you here anymore.

The sentiment obviously hits Farkle, although he swallows it rather than lashing back. He backs off as Harper switches back into directorial mode, calling for the cast and crew to meet center stage for a pre-dinner meeting. As she’s taking account of major players, one absence becomes immediately glaring…

> **Harper:** Where the hell is Babineaux?

**INT. AAA - COSTUME LOFT - NIGHT**

Babineaux, as it were, is in the costume loft. And there’s really only one reason that anyone besides Jade ever goes in the costume loft.

If there’s one thing to know about Charlie Gardner and Zay Babineaux, it’s that perhaps one of the most attractive traits between them – and what brought them together in the first place, all things considered – is one another’s talent (i.e. the boys certainly understand [Artists Are Attractive](https://tvtropes.org/pmwiki/pmwiki.php/Main/ArtistsAreAttractive)). So following such a phenomenal performance of “Agony,” it’s unsurprising that Charlie felt the need to… express some things.

Their banter is playful like usual, the mythos of the costume loft giving them a faux sense of privacy as they kiss. Zay points out that Cinderella’s prince and the lad Jack hooking up would certainly make for an interesting twist, easily emphasized by the fact that they’re both currently in costume. Charlie takes his face, looking him over before shaking his head.

> **Charlie:** Don’t get me started on the costume.

For what it’s worth, it is a good, appealing costume for a good, appealing prince. Jade did an excellent job. Such words aren’t necessary, however, as how eagerly Charlie kisses him conveys the message effectively enough.

Just as they’re getting into it, the doors opening to the loft from down below startle them out of it. Charlie lets out a panicked “shit” before Zay urges him to hide, both of them fumbling for a cover until Zay literally knocks Charlie over, behind a rack of costumes and out of sight.

Just in time, as Maya pops her head up on the ladder to the loft and asks him what the hell he’s doing up there alone. They’re grouping for rehearsal and he needs to get his ass in attendance. Zay nods in agreement and promises he’ll be down in a flash, waiting until she rolls her eyes and disappears again to let out a sigh.

Charlie digs himself out from the rubble and into a sitting position, flushed and obviously dazed. Zay drops down to start helping him, trying to take his hands and help him back up.

> **Zay:** Holy shit, are you okay –
> 
> **Charlie:** I’m – just go! Go, go, before she comes back.

Zay nods, dipping down to give him a quick kiss before darting down the ladder. Charlie sighs, falling back into the costumes.

**INT. AAA - AUDITORIUM - DAY**

The performers assemble on the stage in a circle, the techies continuing to move set materials while Harper discusses the rest of their rehearsal plan for the evening. Charlie jogs up and joins the group last, jumping in next to Yindra. When she asks him where the hell he was, he makes a face and shrugs like it’s no big deal. Nothing for her to worry about.

Given that tomorrow is their first full-day weekend rehearsal, and they’re only five days away from opening, the pressure is on to start cracking down. Harper releases the performers for a quick dinner break, and informs the techies that once they’re done moving things they can break for dinner as well. Everyone is dismissed.

All of them begin moving at once, the technicians heading back out the side door to keep working while the performers flutter off. Lucas hesitates when he realizes Isadora isn’t following them, calling after her.

> **Lucas:** … Dora._ [ when she faces him ] _Are you not going to help?
> 
> **Isadora: **Oh. Well… I kind of want to eat with my castmates. That’s like… part of the bonding thing. You know?
> 
> **Lucas: **… oh, yeah. Sure. That’s fine, whatever. Break a leg, then. _[ under his breath ]_ Maybe both legs.

It’s so hard to tell when Lucas’s sarcasm is dipping into genuine disdain. Isadora takes the spoken acceptance for what it’s worth, nodding and heading in the other direction.

Yindra and Nigel tease Zay about showing up so late to their meeting, pointedly wondering where the hell he was. Maya throws out that he was in the costume loft, to which both of them are like ooh, the _costume_ loft? What could you possibly have been doing there, Isaiah? But the friendly jeers take on a slightly sensitive slant when Sarah throws in her two cents.

> **Sarah:** No wonder Farkle keeps getting roles over you, now that he’s able to help with tech _and_ perform while having a diva meltdown. You can’t even show up on time. But no, you’re clearly above it all.

Zay looks like he has choice things he’d like to say, but Riley distracts him and yanks him back towards the doors for dinner. She states that eating will make him feel better, but Zay pulls away and claims he just wants a few minutes alone to destress. He’ll catch up with her later.

Dave, on the other hand, is in no hurry to head to dinner. He’s still obsessing over his magnum opus of a set piece, growing nitpicky and getting a little too attached to it. Asher and Dylan are pulling him away, claiming that he needs food and like… healthy separation.

Lucas finishes bringing the last of the wood in and encourages his lieutenants to get Dave a _good_ distance from this thing that’s eating him alive, to which they’re like aye, aye, captain. He starts to follow them out, then pauses, glancing over his shoulder at the set piece. Large, impressive, the most important piece of their set design. Then he leaves, casting the auditorium into quiet.

Farkle is the last one present, sauntering out into the auditorium with his things to discover he’s been left behind yet again. He supposes that makes sense, given that he was already blatantly dismissed, but it always feels more pointed when he’s standing all alone. He meanders to center stage, spinning and taking a look at the set. He stares up at it, contemplation coloring his tired expression…

**INT. AAA - ERIC’S OFFICE - NIGHT**

Harper shares dinner with Eric, taking the chair across from his desk as she vents about the rehearsal process. She feels as though she’s doing her best, but this whole experience is still super overwhelming. Everyone looks to her for answers, and sometimes she doesn’t have them. Not to mention the attitude she gets from Farkle and how that’s morphed into a complicated dynamic she has no idea how to move forward from, and the techies clearly don’t respect her. That’s particularly frustrating, considering she _was_ a techie when she first attended AAA all those years ago.

Eric talks her down, assuring her that she’s doing an excellent job. Especially given that they’ve only had… what, one student ailment and zero tantrums so far? That might be the least trauma they’ve ever encountered during a typical AAA production. What else could possibly go wrong?

**INT. AAA - AUDITORIUM - NIGHT**

Great question, Eric. As is storytelling tradition, the moment someone asks that rhetorical query, it must be answered.

Dave is heading back into the auditorium before everyone else, in good spirits and eager to get back to work. He’s humming to himself and dancing a little bit as he goes, coming back to the set building area and rubbing his hands to get back to work.

Only the moment he looks up, it’s as though we’ve entered a horror movie. The camera goes close on his face as he stares up above him, eyes wide before he _screams_ bloody murder. Nothing but pure, abject terror – Dave is quite the scream queen – but why?

**INT. AAA - AUDITORIUM - NIGHT - LATER**

The central set piece has been _majorly_ damaged. It’s a hollow shell of the beauty it used to be, pieces broken off and torn and holes through the paper mache. Totally vandalized.

It’s Dave’s worst nightmare. As we ease away from the damage, the full class assembled comes into focus. Isadora is staring up at the destroyed set piece, stunned, while the rest of the class discusses the damage in hushed murmurs.

Lucas jogs in on the heels of Nate, asking what the hell is going on. His jaw drops when he sees the set piece, as well as Dave huddled on the floor in front of it in a total state. Asher and Jade are kneeling on either side of him, attempting to comfort him. Lucas seems genuinely upset by Dave’s reaction, but Dylan pulls him out of it by asking him what the hell they’re going to do.

Riley adds that this is bad news for all of them, considering they only have five days of rehearsal left and that set piece took all production long to make. They simply don’t have time to put it back together at the same rate, at least not the way they’ve been approaching it so far. It’s going to take all of them dedicating time and effort to it while working overtime, including the performers.

Not to mention, as Charlie points out, who is to say that there won’t be more trouble? Only one of them could’ve done this as they’re the only ones in the school this late on Friday. Whoever openly sabotaged the show, they’re guaranteed to be in their midst.

Naturally, such a dark realization instigates a frenzied slew of accusations. After tossing some words around the popular narrative seems to narrow down to three potential suspects.

> **Haley:** It was obviously Farkle. After everything that happened last year, what does he have to lose?
> 
> **Yindra:** Um, news flash, American Girl? Farkle’s not even here.
> 
> **Nate: **Yeah, but he _was_. He left after the rest of us, and no one saw him leave. Clear motive, clear opportunity.
> 
> **Sarah: **Yeah, except he literally wiped out like an hour before. I don’t believe he could do all that damage with his twig arms, let alone when he’s already running on dead battery.

Yindra and Nigel turn the tables on her, asking if she’s so sure, who the hell does she think did it?

> **Sarah: **Seriously? Is this even a question?_ [ gesturing to Lucas ] _Who is our local delinquent?
> 
> **Asher/Dylan, in unison: **Hey, no way –
> 
> **Riley:** I don’t think –
> 
> **Lucas:** Real ballsy of you to say so to my face, Sarah. Just because you enjoy constantly cutting down the work of your classmates doesn’t mean I get the same sadistic thrill.
> 
> **Jeff: **Yeah, why would a techie destroy another techie’s work?

Good point, but a lot of people seem to think Lucas isn’t a bad argument. He is always angry, after all, and he’s vandalized things before. He scoffs.

> **Lucas:** This is so bullshit. This is profiling.
> 
> **Zay:** That’s not what profiling means, white bread.
> 
> **Darby: **Well I don’t know if I would be so smug, Zay.
> 
> **Zay: **The hell are you on about?
> 
> **Darby: **You’ve been acting kind of weird, too. And you weren’t at dinner until later.
> 
> **Riley: **Yeah, but not long enough to do _that_.
> 
> **Zay: **Are you seriously claiming _I_ did this?

Sarah picks up the slack on this thread, pointing out that Zay was _also_ pointedly late to their group meet up before dinner. He could’ve been getting everything ready then, and then he could easily pull it off quicker. Zay grows defensive, stating that he has better things to do than fuck with their production.

> **Nate: **Yeah, because you’re always above everything, aren’t you?

Riley steps forward and rubs Zay’s arm comfortingly, obviously not believing it could’ve been him. Charlie also looks like he wants to say something, but as things grow more heated he keeps his mouth shut.

The in-fighting only ceases when Harper returns with Eric, both of them shocked at the state of the set piece. When she frantically questions what the hell happened, a bunch of people start speaking at once and it’s impossible to figure out what anyone is saying. It’s a lot to absorb all at once, so Harper snaps and tells all of them they’re dismissed for the evening. Clearly everyone needs to cool down, and they’ll figure this out during their 12-hour rehearsal day tomorrow.

It’s the first time Harper has raised her voice in front of the class, so everyone takes the demand seriously. They disperse, Eric going to assess the damage as Asher and Jade manage to pull Dave up from being a puddle on the floor.

**INT. JACK’S APARTMENT - NIGHT**

JACK HUNTER is in the midst of a dinner date with ANNE MARIE WINTHROP, beginning the transitioning from the meal to the… extracurricular portion of the evening. The mood is disturbed when his phone rings, Jack pulling back from her to check his phone.

He states that it’s work, which Anne Marie points out can wait considering it’s the weekend. He’s working on the work-life balance, remember? She regains his attention, gently pulling him back into a kiss… when his phone rings again. She relinquishes him with a sigh, Jack offhandedly explaining that with the musical going on right now, it probably has something to do with that. He’ll be quick, he promises.

Anne Marie watches as he dashes off with the phone, propping her feet up on the couch.

**INT. MINKUS HOME - NIGHT**

Farkle is in fact home for the evening, half-heartedly eating something for late dinner alone at the dining table. He jumps when his phone rings, surprised to see Riley calling. He answers immediately, not even sure what to say in greeting.

She says she’s simply checking in to see how he’s feeling, and also inform him about the set piece debacle and how that might impact rehearsals tomorrow. To his credit, Farkle seems stunned by the news.

> **Farkle: **What? That’s terrible. It was fine when I left… are they going to fix it? I mean, we only have a few days before opening –

Riley explains that they’re going to get more information tomorrow. Farkle appears genuinely frazzled, but on the one hand, he _is_ an actor. Or it could just be nerves…

He attempts to try and keep the conversation going with Riley, who he hasn’t really spoken to since the end of last year. But she finds an exit route and tells him she has to go, stating she’ll see him tomorrow before hanging up. Not giving him much of an opportunity to reconnect.

**INT. MAYA’S APARTMENT - NIGHT**

KATY HART is likewise on the phone, deep in a debate with their landlord. She’s talking numbers and clearly trying to negotiate something important, but she abruptly ends the call when Maya stumbles in from rehearsal. Based on her expression it’s obvious something’s up, but Maya does not seem in the mood for talking.

> **Katy:** What’s going on? How was rehearsal?
> 
> **Maya: **Exhausting. Everything is bonkers as usual. Whatever. I’m going to bed.

Katy doesn’t argue the point further. Maya drops her duffle by the door and gives her mother a quick kiss on the cheek, stomping off to sleep.

**INT. AAA - AUDITORIUM - DAY**

The grueling 12-hour rehearsal kicks off with a tense start, the destroyed set piece looming over the cast and crew as they saunter in early in the morning. People continue to throw around their suspicions, particularly at Farkle now that he’s returned for the day.

> **Farkle:** I’m amazed at the _sexism_ on this stage right now. You all have decided on your three prime suspects, and yet, why are we only assuming a _guy_ could’ve done this?
> 
> **Yindra:** It’s not our problem all y’all boys in this class are emotionally unstable.
> 
> **Clarissa:** Besides, that part of the set piece is too high up for most of us to reach.
> 
> **Maya:** Izzy and I are innocent for sure. We’re tiny.
> 
> **Yogi: **Step ladders exist.
> 
> **Maya:** Which is obviously what _you_ used, you’re the shortest of all of us –

Harper ceases the arguing with her arrival, essentially banning discussion about the culprit. She wants all of their focus directed towards rehearsal and repairing the set, not trying to pin blame on one another.

> **Yogi: ** _[ singing under his breath ] No what really matters is the blame, somebody to blame…_

The investigation, Harper wants them to leave to the professionals. Which in this case, are Jack and Eric. They saunter their way in as she’s explaining the new rules, discussing heatedly as they make their way up to the stage. It’s clear Jack isn’t exactly pleased to be there, although he grows more somber when he gets a good look at the set piece for the first time.

The class, on the other hand, isn’t impressed.

> **Nigel: **Them? _They’re_ supposed to be our grand detectives?
> 
> **Jack: **Believe me, Mister Chey, there are dozens of ways I’d rather be spending my Saturday.
> 
> **Harper: **Principal Hunter and Mister Matthews have narrowed down problematic students before, and I am sure they’ll be able to do it again.
> 
> **Jade:** Yeah, because they did such a good job with the Confessions page.

The rest of the class agrees, lightly clowning the administrative duo. Like, sure. Let them try their best. No one seems particularly threatened by their involvement, and when Harper dismisses them to get into costume and make-up the three of them regroup.

> **Jack: **How did I somehow end up dragged into yet another episode of _Adams Unsolved_? As opposed to, you know… running the school like a normal principal?

Eric points out never has his role been “normal.” But whatever, they’ll be able to figure it out. Which launches us into yet another classic Jack & Eric interrogation sequence…

**INT. AAA - ERIC’S OFFICE - DAY**

Jack paces the office while Eric sits at his desk, both them tossing questions to each student that sits opposite them in the hot seat. The discussion tends to drift to what the class has deemed the most likely suspects, although no theory is exactly concrete.

Clarissa takes the seat first, offering her two cents. From there, it’s a game of popcorn. As each student takes the seat, it’s picking up from the last, but of course none are in conversation _with_ one another.

> **Clarissa:** I’m not going to act like I know anything for certain, but I wouldn’t be surprised if Lucas did it.
> 
> **Eric: **Why’s that?
> 
> **Sarah: **Uh, maybe because… he’s a criminal? You two should know, isn’t there like a mega folder dedicated to chronicling his misdeeds?
> 
> **Jeff:** There’s no way Lucas would do another techie like that. Dave worked so hard on that set piece. He’s sort of a dick, but he wouldn’t go that far.
> 
> **Yindra: **Oh, sure he would. Lucas hasn’t cared about anybody but himself since like, last April. If that. He’s a pissed off white boy, they’ll do anything.
> 
> **Clarissa: **Not to mention he’s already sort of sabotaged the show. He was a good stage manager last year, but it’s been a mess this year. He’s all over the place and angry all the time, and that’s when he elects to show up at all.

Still, there are alternative points to his seemingly obvious guilt. Asher and Dylan are the only two students to be interviewed together, seated next to one another.

> **Asher: **We were finishing unloading set pieces when the prep would’ve occurred, and all at dinner together when the vandalism happened.
> 
> **Dylan: **Yeah, and we all saw each other. Therefore, it could not have been Asher. Or me. Or Lucas.
> 
> **Jack: **And you’re sure you had eyes on _all_ of your fellow technicians? At all times?
> 
> **Dylan:** Sure. There was me and Ash –
> 
> **Asher:** And Jade.
> 
> **Dylan: **And Jeff.
> 
> **Asher: **Nate, Dave –
> 
> **Dylan:** And Lucas. That’s everyone.

Then, of course, Lucas has his own take.

> **Lucas: **All this proves to me is that no one in the junior class has a collective brain cell. I was helping the techies with the supplies haul – because we’re the only ones who ever do any real work. _[ nodding to Eric taking notes ] That’s_ called an alibi, did you jot that down?
> 
> **Jack:** Okay, okay. Cool it, Lucas.
> 
> **Lucas: **The supply move took about a half an hour, and then we were all at dinner together. Did I watch my friends like a hawk, no, but maybe that’s because I trust them.

Throwback to Eric with Dylan and Asher.

> **Eric:** And you’re _sure_ you saw him. The whole time.
> 
> **Asher: **Beyond a reasonable doubt.
> 
> **Dylan: **We’re sure.

With that confirmation, the mystery grows more befuddling. And Lucas is still defensive, but it’s not clear whether that makes him seem more or less guilty.

> **Lucas:** Besides, why the _hell_ would I destroy the work of a fellow technician? Let alone my friends? I’m one of the only people who gives a shit about what we do. Oh, and then there’s the little detail of uh,_ I didn’t do it_!

Convincing delivery. But Lucas has lied before, so it’s not a guaranteed innocence. There are other potential culprits to consider, however.

> **Yindra:** Lucas’s lame attitude aside, I don’t think he did it. I don’t think he cares enough. Farkle, on the other hand –
> 
> **Charlie:** Farkle has been acting kind of weird lately. Not that I think he did it, but I don’t know, he’s seemed on edge since he came back for school. Which makes sense, you know, given how last year ended…
> 
> **Darby: **If he’s been waiting for a chance to get back at all of us or further his reign of terror, this would certainly be a good move.

Solid points. But then, it still doesn’t seem all that simple.

> **Farkle: **This is ridiculous. I was at home because I was _sent_ home, you can call my parents and confirm. Or ask Miss Burgess.
> 
> **Eric:** People said that the vandalism could’ve occurred before you were picked up. There is a window enough for something like that.
> 
> **Farkle:** Mister Matthews, you saw me yesterday. Did I look itching for a scrap? No. I was tired, so I went home as directed and got some sleep. That’s it.

Logically, there are other holes in his potential guilt as well. He’s not the only one who believes in his innocence.

> **Jade:** I mean, I don’t like Farkle, but it doesn’t make a lot of sense. Why would he sabotage a show where he has the lead?
> 
> **Nigel:** He hasn’t been nearly as rabid this year as he was last year. I get why everyone is automatically pointing fingers at him, but I don’t know, I don’t think vicious destruction is his vibe. Now, if we all suddenly came down with hay fever and lost our voices before opening night, then I might consider he did some kind of witchcraft…
> 
> **Nate:** Minkus is a stone cold bitch, but he cares way too much about his time in the spotlight to throw it away over something so stupid.
> 
> **Charlie: **Also, I saw him when he collapsed. He didn’t look good. I don’t think he would be running off to cause trouble after a fall like that.
> 
> **Sarah: **Oh, come on, is that supposed to be a valid excuse? He’s an _actor_. He could’ve faked the whole thing for attention. I don’t buy that as an automatic pass.

Then, there’s the third oddball suspect to have been afforded potential blame. He comes back into the conversation after Dave’s choked up explanation, slouched deep in Eric’s chair.

> **Dave:** I swear, I left and everything was fine. It was perfect. Asher and Dylan dragged me out to dinner, but I ate really fast so I could come back and do the final finishing touches. And when I got back, it was a mess. It was –
> 
> _[ Dave can’t speak further. A bit theatrical, yes, but who are Jack and Eric to judge what’s important to a student. Eric slides his tissue box across the table. ]_
> 
> **Dave:** Whoever did it, they were prepared. They knew what they were doing. _[ blowing his nose ]_ So either they already have some experience messing things up, or they took the time to be ready.

This throws back to what was observed quite aptly yesterday, which is that Zay has been having some mysterious absences of his own.

> **Maya:** I mean, yeah, I had to go grab him from the costume loft. Which was kind of weird, since people don’t really hang out in there alone, but I seriously doubt Zay did anything. I mean, come on, he’s Zay.
> 
> **Zay: **I’m Zay, okay? I’m not into petty stuff like this. I have no motive and you all know it. I’ve never been a monster diva. I’m just a talented bitch.
> 
> **Sarah: **His motive is exactly that. He’s never been on the same level as Maya and Farkle, and even though he was the summer camp darling, he’s still playing second fiddle to Minkus. That would drive anybody to action, especially since Farkle sucks.
> 
> **Riley: **There’s no way Zay would do something like this. He is the nicest person at AAA, he would never do something so needlessly cruel.
> 
> **Eric:** But you said so yourself that he didn’t go with you for dinner. That he wanted to take some time alone.
> 
> **Riley:** Yes, but… that’s not the point. When he said that, I doubt he meant he wanted to go vandalize the set.
> 
> **Isadora:** I highly doubt it was Zay. He’s just the third party suspect people throw in there so it’s more exciting. He has no motive, and definitely doesn’t fit the profile for potential insanity the way the other two do. The only thing he’s missing is –
> 
> **Eric:** An alibi. If you can give me concrete facts on where you were, then we can clear this and call your whole involvement moot.
> 
> **Zay:** I told you, I went to the dressing room to take a breather and was out to dinner within like, five minutes. That’s not enough time to cause carnage that great.
> 
> **Jack: **If you were prepared, it might be. People said you were difficult to find before you all were dismissed for dinner.
> 
> **Zay, exasperated:** This is inane! I was in the costume loft, Maya _saw_ me.
> 
> **Jack:** But she didn’t see what you were doing. And the costume loft is the perfect place to hide some items if you’re planning to do damage, based on proximity alone.
> 
> **Eric: **Is there anything else you can give us to work with? Anything to prove that you were there when you said you were. Did anybody else see you? Anybody that can vouch for what you were doing?

Zay holds his tongue, obviously thinking. There sure is one option, but whether he’ll talk…

**INT. AAA - JACK’S OFFICE - DAY**

Case in point, Jack and Eric are exhausted when they wrap up their initial round of conversations. Their takeaway is essentially the same as the class – that there are two clear obvious suspects and then Zay, but without concrete evidence to his innocence it’s hard to give him a pass while they’re still investigating the other two.

At least, Jack states, they can effectively decide on a punishment. Regardless of who did it, the punishment should be the same, and it should be swift. Eric is a bit surprised by Jack’s rigid stance on this, but he doesn’t argue the point. There’s no point in stressing about punishment when they have no one to punish.

From their outsider perspective, this is going to be tough. It would be more effective to be on the front lines…

**INT. AAA - DRESSING ROOM HALL - DAY**

Which is exactly what Isadora is thinking as she goes to find Riley. She pulls her aside, checking that they’re in agreement that Zay being under investigation is insane. She proposes that the two of them work together to suss out the true culprit themselves – or at least, clear Zay’s name, since he doesn’t seem too keen to do it for himself. Isadora also feels bad about all of Dave’s hard work being destroyed, and if she can bring the perpetrator to justice it might get her back in good graces with the techies.

Riley is desperate to help, and the possibility of reconnecting with Isadora through the mystery is a no-brainer. She declares she’s in, shaking hands with her to seal the partnership.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “He Did It” as performed by _Curtains_ Original Broadway Cast || Performed by AAA Juniors**

_[ Lyrics specific to characters – follow along [here](https://docs.google.com/document/d/1OYskH5HRIkatjKnXRRSD9AerF1KbPnzV-kikY2K6NgE/edit?usp=sharing)! ]_

Although Harper specifically instructed the juniors not to speculate any further, they are hardly going to listen to such a directive. When the cast and crew break for lunch, a series of hushed discussions further deepen the suspicions against our prime suspects. Meanwhile, Dave snoozes in front of the set piece, so protective over it now that he can hardly leave it.

While their classmates share theories, Riley and Isadora eavesdrop and take notes for themselves. They exchange eyebrow raises and inquisitive looks as they creep around the set pieces, aiming not to be noticed by their gossiping peers. Following along with the slightly altered lyrics in this case is a must for the full effect.

As the round begins and the accusations build up, the number comes to an end with Lucas, Farkle, and Zay being backed into one another center stage, their classmates mocking their obvious guilt. But which one actually did it – if any of them at all?

* * *

**INT. AAA - JANITOR’S CLOSET - DAY**

That’s for Riley and Isadora to attempt to deduce. They’ve taken inspiration from the likes of _Buzzfeed Unsolved _and _American Vandal_, using HARLEY KEINER’S office as a home base to set up their mystery board and compile evidence. He assures them he’ll help in whatever way he can, just to give him a holler if they need his assistance.

Thusly, the two amateur detectives start putting together a more comprehensive rundown of the timeline of the vandalism. This includes threading together texts, timestamps, in-person sightings, anything they’ve got. They’re mostly focused on clearing Zay, but if they can narrow down the actual culprit at the same time, then even better.

**INT. AAA - DANCE STUDIO - DAY**

Zay is less concerned about clearing his name, seeing as it seems fruitless anyway. He’s running through choreography with Charlie in their usual studio, the subject only coming up when the latter brings it up.

He comments on how harsh the accusations seem to be getting, wondering if Zay is feeling okay. He doesn’t deserve to be under the gun like this. Zay shrugs it off, claiming that people always talk. Still, it’s unfair, and Charlie clearly feels for him.

> **Charlie:** It still sucks. Especially because you of all people deserve it the least. I wish there was something we could do, I wish I could help.

Zay hesitates, contemplating whether bringing the issue up is even worth it. But Charlie is looking at him, full of sincerity, so he decides it’s worth a shot. He starts to say that there is a way he could help… by saying that he saw him in the costume loft and he wasn’t doing anything nefarious. The only reason people are still on him is because he doesn’t have an “alibi,” so if he says something…

Charlie’s expression shifts in an instant, going from empathetic to wary.

> **Charlie: **Are you kidding? No way.
> 
> **Zay:** Listen, you wouldn’t even have to say what you were doing there. Just that you happened to see me, maybe at a different time than Maya. Or even just that we crossed paths. Eric isn’t going to grill you –
> 
> **Charlie:** No. No, man, I can’t do that.
> 
> **Zay:** Why not? You said you wanted to help. It won’t matter why you were there, you won’t even have to say –
> 
> **Charlie, sharply: **Yeah? What is the _only_ reason people go to the costume loft, Zay?

Zay makes a face, conceding this point. He figured this wasn’t going to go anywhere, but Charlie’s reaction is admittedly stronger than he anticipated. He’s pacing, breathing uneven as he continues to refute the possibility. He’s on the verge of full-blown panic, a wild look in his eyes as he repeats his refusal.

> **Charlie:** I can’t. No. No, Zay. I can’t, I’m sorry, I can’t –
> 
> **Zay:** Okay. Okay… okay! Charlie, hey –

Zay takes his arms, getting him to stop moving and look at him. He shifts his hands from his arms to his shoulders to his face, trying to get him to calm down.

> **Zay:** It’s okay, alright? Charlie, look at me. You don’t have to do anything. It’s fine.
> 
> **Charlie, breathless: **Well – well what are you gonna do?
> 
> **Zay: **I don’t know, I’ll figure something out. But it’s okay. It’s gonna be fine. Okay?

Charlie gulps, catching his breath and nodding. Trying to believe it’s true and come back from the edge. After a moment he pulls Zay into a hug, holding him tightly and tucking his head into his shoulder. Zay returns the embrace.

From the way he holds him, it’s so incredibly clear how _important_ Zay is to Charlie. How much he cares about him, how much comfort he gives him and how safe he feels with him. He can’t fathom losing that just yet… even if the chances of problems are slim, it feels like too much to risk…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Giants In The Sky” as performed by _Into the Woods _Original Broadway Cast || Performed by Charlie Gardner**

A bold transition from the soft intensity of his moment with Zay, Charlie’s eyes are wide and shining in the stage lights as he launches into this energized soliloquy.

Jack’s fictional dilemma of straddling the worlds of giant and mundane somehow perfectly encapsulates Charlie’s own current conundrum – the pull between being a good Catholic boy, the perfect son, the world of _“the roof, the house, and your mother at the door,”_ versus… well, being himself. Unapologetically. Without hesitation.

A world dazzling and elusive enough to be compared to the fantasy world of giants.

Much like his rendition of “Empty Chairs” from last year’s musical, the solo is bursting with emotion. Despite how he’s handling things personally, there’s no doubt that Charlie knows how to deliver a performance – even when he so often fades into the background.

* * *

**INT. MATTHEWS APARTMENT - NIGHT**

The full Matthews clan is assembled for the first family dinner in a spell, TOPANGA LAWRENCE keeping up light conversation. Riley and AUGGIE MATTHEWS engage with her, but CORY MATTHEWS mostly keeps his eyes on his plate. Riley can tell that something is up, much in the same way she sensed the dread of the divorce before the blow actually landed.

Topanga doesn’t make her wait too long for the other shoe to drop. As they’re finishing up, she calmly explains that now that the divorce is nearly finalized, things are going to start changing a bit around here. Most imminently, Topanga is going to be moving out of the apartment and into her own place in Midtown.

Riley is totally floored by this development. The notion of her mother actually leaving makes it feel… real, like she is not going to be present in her life all the time any longer. She worriedly asks if Topanga is still going to be around – is she coming to _Into the Woods_? – but her mother brushes off her worries with easy confidence. She’s simply moving to Midtown, not evaporating.

Even still, the revelation is gobsmacking. Silence settles over the meal, Cory notably mute as Riley eyes him across the table. Topanga changes the subject nonchalantly, as if the impact of the moment has already passed.

**INT. AAA - ERIC’S OFFICE - NIGHT**

Eric and Jack are still at school, working together to organize their testimonies and search for possible clues they might’ve missed. But there’s no clear trajectory, and both of them are well aware there’s a good chance half of the students are lying anyway.

Also, the fact that Jack is distracted doesn’t help. He’s constantly being pulled away from the brainstorm by text messages, his work-life balance equally present at school as at home. Although it’s not a crime to keep his girlfriend updated on their status, Eric isn’t taking to it well. He clears his throat to regain Jack’s attention.

Once they get back to discussing, Jack wonders why they’re still here anyway. Clearly they don’t have an answer, and what should matter is making the consequences of such behavior clear. If they can’t figure out who did it and give them the rightful punishment – suspension, likely – then they may as well do some sort of moderate penalization to all three prime suspects and call it a day.

Eric is confused by this perspective, especially coming from Jack. What happened to innocent until proven guilty? And furthermore, this is a far cry from the man who was so torn up over how to handle the removal of a student who was _proven_ guilty only a few months ago.

> **Jack: **Yeah, and how much good did that end up doing, huh? Everything is still in shambles.

Ah. So we’re not handling that as well as we thought. Eric starts to try and get him to talk about it, but Jack shrugs it off. The point is, when the time comes someone will have to face the music. Anne Marie is an attorney, and this is the kind of business she deals with all the time. If there’s no consequences, then no one will ever learn the status quo.

As the girlfriend comes up in conversation again, it’s Eric’s turn to react off the cuff. He points out that Anne Marie doesn’t work at AAA, and this isn’t court. It’s high school, and their focus is on the kids and trying to figure out why they’re making the decisions they are rather than coldly punishing them for them. At least, that’s _his_ approach…

Jack is offended at the insinuation, firing back that Eric knows damn well how much he cares about this school and the students. It’s not his fault someone has to be the authoritarian, because if he doesn’t, then chaos reigns as it has for the last six months.

The tension between them is palpable, and suddenly it’s as though they’re back in time. Arguing about the same old things, criticizing one another for things they thought they had moved past or come to appreciate. Jack backs off first, claiming this is going nowhere and they’ll just have to see where things go. They’re not doing anyone any good by snapping at each other.

As Jack departs, Eric settles into his desk chair. He watches where Jack left, shaking his head. Obviously not sure why he got so heated in the first place.

**INT. AAA - AUDITORIUM - DAY**

As the last three days of rehearsal roll around, the mood is decidedly frantic. People have grown less concerned with who amongst them is a vandal and more so with being able to go on for opening night at all. The techies are running on overdrive to repair the set piece, which is no comparison to its former glory.

Amidst the chaos before another run through, Isadora gets a call. It’s from VALERIE DE LA CRUZ, who beats around the bush before regrettably letting her know that something unexpected came up and she won’t be able to make the show anymore. Promotion for a new project, or something, that she wishes she could blow off…

Isadora swallows her shock, playing it cool on the phone. She assures her it’s no big deal, and she nods along as Valerie apologizes and promises they’ll see each other soon. But as soon as she’s through with the conversation her demeanor shifts. Suddenly, all the chaos around her is too loud, too imposing. She has to get out of there.

She retreats and makes a dash for the dressing room hall. Lucas notices from across the stage at the stage manager’s podium, expression shifting from its recently adopted constant state of irritation. He passes off his binder to Asher offhandedly, going after her.

**INT. AAA - HALLWAY - DAY**

Lucas wanders at a jog through the halls, clueing in to where Isadora is once he hears her light cursing. He finds her a bit away down the hall, slouched against the lockers on the floor and hiding her head in her hands.

Instantly softer, Lucas approaches and settles down at a crouch next to her. She’s startled at first but seems relieved when it’s only him. Without even saying anything, Lucas reads her expression and gets a sense.

> **Lucas:** It’s Valerie. Isn’t it?

There’s no point in denying it. Isadora huffs, nodding and twisting a piece of her costume. Lucas drops down to lean back against the lockers with her, scoffing in distaste.

> **Lucas:** I always knew she was full of shit.
> 
> **Isadora: **I know, I know. “I told you so.”
> 
> **Lucas:** No, I don’t mean it like… look, Dora, it’s fucked that she did that. And you have the right to be pissed about it. I get that you’re trying to, like, open a dialogue with her or whatever, but you don’t have to let her push you around. And you shouldn’t feel bad for being upset that she dropped you _again_.

Fair points. Tough to hear right now, but it is nice to have someone unquestionably in her corner. She nods, giving him a weak smile and taking a deep breath.

> **Lucas:** … you know, it’s her loss. Her fucking loss if she’s willing to drop Isadora Samantha Miracle “Smackle” De La Cruz.
> 
> **Isadora:**_ [ with a small laugh ]_ Did you really have to use the full name?
> 
> **Lucas:** Yeah.
> 
> **Isadora: **Careful. If you don’t stop, people are going to think you give a shit.

Lucas’s turn to laugh. It’s a dry humor, flat delivery from both, but reflects something effortless between them that’s felt off-key lately. Lucas tilts his head and gives her a lazy smirk, causing her to roll her eyes. But when she looks away, she’s smiling too. Something might be clicking back into place…

Until it’s not. The peace is disrupted moments later as Maya flurries into the hall, heels of her boots clicking and voice almost louder than usual as she rushes over to them.

> **Maya:** Hey, I got your text. What the hell happened?

Lucas tosses a puzzled look to Maya, wondering what she’s doing there. It takes him a second to realize her words indicate that Isadora beckoned her – before she even thought of him. He immediately grows stiff again as Maya comes to crouch in front of Isadora.

The conversation takes an interesting turn as both of them attempt to occupy the space and comfort her, taking very different approaches. Whereas Lucas defends Isadora’s feelings and digs his heels in further about Valerie being reprehensible, Maya encourages her to take a more logical approach. They both know Valerie is busy, and there’s no way this is personal. It sucks, no doubt about that, but no use in getting so fired up about it.

It’s clear Lucas finds Maya’s level head in this situation ironic given her usual behavior. But more than that he feels extraneous, like he doesn’t even need to be there at all. And if he hears one more earnest defense of Valerie De La Cruz, he might projectile vomit. So he excuses himself, bitterly leaving Maya to take over the comforting.

Maya asks if there’s anything she can do, but Isadora claims she just needs a little bit of time to regroup. Maya gives her that, assuring her she’ll catch her up if anything happens in rehearsal before leaving her on her own.

As Isadora pulls herself up off the floor, she takes a long, deep breath. Then she adjusts her costume on her shoulders, the red cape on her shoulders reminding her that she has a major role. And she earned that on her own.

Jeff appears at the end of the hall, calling for her and stating that they’re getting ready for her solo. Eyes blazing with emotion, Isadora nods and marches back towards the auditorium.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “I Know Things Now” as performed by _Into the Woods _Original Broadway Cast || Performed by Isadora De La Cruz**

Isadora delivers a great rendition of her musical solo, the whole performance alight with a certain edge only she could bring to the role. She’s channeling all of the frustration over how this situation has panned out, reflecting how she was tricked by The Wolf (Valerie, in this case) rather than listening to the well-intentioned but rigid sense of her granny (Lucas).

Towards the end, we see Isa leave the stage, her performance over, and check her phone. She has a text from Valerie on the lock screen, but Isa locks her phone and puts it aside.

* * *

**INT. AAA - BOYS DRESSING ROOM - NIGHT**

Zay is touching up a piece of his costume when Farkle enters, the two of them making eye contact in the mirror. Neither of them say anything at first as Farkle heads to his station at the counter, but Zay opts to break the silence.

> **Zay:** It’s fine, you can speak. Given that we’re both suspects in this shitshow of a crime mockumentary, I guess I hardly have the right to act like I’m above your complaints.

Farkle shrugs, claiming he doesn’t have any complaints. The moment this happened he was a guaranteed target, which may very well be what the perpetrator wanted anyway. He finds it more odd that Zay doesn’t seem to be doing much to defend himself, if he’s so innocent. Especially given that from what he’s sussed out, if no one comes forward it’s more than likely all three of them are going to be punished.

This is news to Zay. He scowls and slams down his make-up bag on the counter, fed up.

> **Zay:** This is such bullshit. What, my classmates all decide they’re the Supreme Court and put me on trial for no reason, and suddenly that’s as good as guilty? All because someone had to have another meltdown?
> 
> **Farkle:** Well, don’t look at me. I didn’t do it.

Zay glares at him, obviously disbelieving. But Farkle seems serious, his lack of theatricality lending a weird credibility to his statement. The two of them have their stare down, searching for the cracks in each other’s facade…

When commotion from the dressing room hall breaks them out of it. Yogi darts in, out of breath and somewhere between thrilled and panicked.

> **Yogi:** It’s finally happened. It’s jungle madness.

Zay and Farkle exchange bewildered looks, running to follow Yogi out.

**INT. AAA - AUDITORIUM - NIGHT**

Tensions seem to be at a boiling point in more places than just the dressing room, and from unlikely culprits at that. The progression of a scene has been derailed by a section of the new set piece falling apart, causing the nearly decapitated Maya to throw some choice words at the technicians. Jade and Asher have stepped up to take defense against the performers, and voices are already at high volume when Zay and Farkle arrive.

Jade points out that all the performers ever do is criticize, when the whole thing could’ve been fixed far more efficiently if they chipped in like they were supposed to. Asher questions if they all magically forgot everything they learned about tech last year, to which Maya retorts that maybe if the set design wasn’t so damn _complicated_ in the first place, they wouldn’t be having this conversation.

> **Dylan, loudly:** Hey, fuck off, beauty queen.
> 
> _[ The assembled cast and crew reacts accordingly, surprised and somewhat amused. ]_
> 
> **Asher:** Dyl, it’s fine, I can handle myself. _[ to Maya ] _Fuck off, beauty queen!

It’s clear the negative mojo is spreading like wildfire. Riley attempts to get the arguing to stop as Lucas jogs down from the booth with Jeff, questioning what the hell is going on. The performers continue to rail on how everything has fallen apart because of this damn set piece and now the replacement looks like garbage, and Dave finally _snaps_.

> **Dave: **Well tell that to whichever one of you bent _muppets_ did this in the first place!

Once again the blame train is running, only this time it crashes. The shouting quickly escalates and suddenly the scuffle turns physical, people launching at one another in a frenzy. Dylan holds back Asher by the waist, keeping him from going full scrappy. Lucas leaps in and attempts to hold Dave back from charging half of the ensemble. Charlie yells for everyone to cut it out, getting yanked out of the way by Zay before Sarah can elbow him on accident.

As Harper and Shawn rush in and start pulling people apart, Riley and Isadora zero in on a couple of interesting features to the brawl. Isadora is focused on Lucas, who has allowed Shawn to handle Dave and is keeping Dylan and Asher from completely throwing down with Maya. Something about the moment seems to stand out to her, just slightly off…

Shawn effectively halts the fight, effectively getting them all to head in different directions. He spits out a criticism, obviously over the tension.

> **Shawn: **Have you all gone feral? Absolutely ridiculous!

Harper angrily declares that they all need to cool off and separate. They need to be back in fifteen, and the next person who causes _any_ trouble is _out_ of the production. Doesn’t matter if they’re stage crew of the star of the show.

Riley has her eyes on the opposite end of the room, where a security camera has caught her attention. It’s not facing the stage where the fight is unfolding, but rather a more promising angle – a perfect view of the costume loft doors.

**INT. AAA - JANITOR’S CLOSET - NIGHT**

Isadora and Riley eagerly regroup, the latter launching into a breathless explanation of what she noticed. There’s a camera that’s directly facing the costume loft, which is what Zay’s alibi hinges on. If they can get access to the footage and prove that he never returned to the loft within the time stamps of the crime, then they can clear him.

They ask Harley for help, considering he is the local secret tech guru and likely has access to the servers to look at that section of the tape.

> **Harley:** Technically, it would go against the janitorial code to share security intel with students just based on a simple request…
> 
> **Isadora: **We’re not asking to goof around, Janitor Harley. This is a quest for justice.
> 
> **Riley: **All we need is that one section. Please, it’s for a friend. A really good friend.

It seems like Harley is considering it. He gives them both an eyebrow raise.

**INT. AAA - BLACK BOX THEATER - NIGHT**

Shawn comes to find Harper, commenting that whatever just happened was a major clusterfuck. How the hell does she plan to deal with this? Feeling cornered and overwhelmed, Harper _finally_ lashes out at Shawn.

> **Harper: **Oh, how am_ I _going to deal with it? I’m amazed you don’t already have all the answers. I’m shocked you haven’t already written down every possible solution I could offer and have some snarky, neckbeard rebuttal to every single one!

Shawn is stunned by the dig, starting to defend himself. Only Harper isn’t finished – she’s far from finished. She posits that part of the reason everything is such a mess is on him, and their inability to work together. That’s on him, because since the moment she arrived he has done nothing but belittle and sabotage her and offer not one shred of solidarity.

> **Harper:** I don’t know what midlife crisis you’re working through, Hunter. I’m sorry I’m not your beautiful, powerhouse girlfriend, and that I’m not here to have sexually charged banter with you when our focus should be on the students. But all I’ve done since I got here is try, and I know for a fact the same cannot be said for you. So before you dish out all the responsibility onto me, I think perhaps you should take a quick look in the mirror you clearly hardly bother to look into on a daily basis.

She doesn’t give him the chance to respond, storming past him. Shawn blinks, trying to absorb what the hell just happened. He glances at his reflection in the mirror wall, tentatively touching at his scruffy beard.

> **Shawn, petulantly: **It is not a neckbeard…

**INT. AAA - ERIC’S OFFICE - DAY**

We’re close on a laptop, playing the security footage from the costume loft camera. The seconds are ticking by fast, the film on fast forward as Riley searches for the right time stamp. She and Isadora are leaning over either of Eric’s shoulders.

> **Eric: **And how exactly did you get access to this again?
> 
> **Riley:** Don’t worry about it.
> 
> **Isadora: **A respectable investigator never outs their sources, Mister Matthews.

Well, hard to argue with that. Riley doesn’t give him the opportunity anyway, letting out an exhale as she claims she’s found the correct moment.

We’re looking at the doors outside the costume loft, the footage a little grainy due to the lighting and in classic conspiratorial black-and-white. As stated in his alibi, the three of them watch Zay duck into the costume loft. Riley jumps forward a bit, showing the moment Maya enters to retrieve him and he follows out a moment later.

For a second, the clip keeps running… potentially long enough to reveal another junior leaving the costume loft during that same sequence. But right before Charlie emerges from the doors, Riley pauses and jumps forward in the timeline.

The evidence as good as proves it as she lands on the time frame of the vandalism – Zay never returned to the costume loft. If he was prepping something in there, they would’ve seen him retrieve it. Yet, there’s absolutely nothing to see.

Eric seems pleased to agree that the footage is pretty damning. He feels confident marking Zay off as a suspect. Riley and Isadora exchange relieved smiles, high-fiving behind their counselor. Then they rush back to rehearsal, Riley giving Eric a quick side hug before she goes.

Once they leave, Eric watches the clip back again to double check their findings. Everything checks out, so there’s nothing more to see… only this time he doesn’t hit pause so quickly. He jots down some notes instead, lifting his gaze just in time to see Charlie emerging from the costume loft a few minutes after Zay.

Eric frowns, reaching forward and rewinding to make sure he saw that correctly. He might’ve misseen it, or made it up – it’s almost a blink-and-you-miss-it exit.

But no. That’s definitely Charlie Gardner, accounted for in the costume loft at the same time that Zay was supposedly in there alone.

He may not be a student, but Eric has been a beloved faculty member at AAA long enough to know the reputation the costume loft has. Suddenly, Zay’s reason for being there is crystal clear – as well as why he couldn’t provide a compelling alibi considering the shock of seeing Charlie was strong enough to cause him to double take.

Eric absorbs this new bombshell, the frivolity of the vandalism now old news.

**INT. AAA - JACK’S OFFICE - DAY**

Harper has reached her breaking point. She’s in tears as she occupies the chair opposite Jack’s, succumbing to the pressures of an admittedly rough transition. For all the effort she’s putting into it, the impact she wants to make, nothing seems to be working out. Everything is just friction, not forward momentum.

Jack allows her vent, listening intently. He apologizes again on behalf of the junior class, and commends her for taking the initiative to connect with this particularly challenging group of students so seriously. They’re lucky to have her, even if they don’t realize it yet.

After she’s calmed down a bit, Harper thanks him. She tells him sincerely that he’s a good administrator, a sentiment that clearly touches him given how out of balance he’s felt about his position as of late.

> **Jack:** Yes, well, I’m sure some of them would disagree with you. I’m not exactly the most popular faculty member here at Triple A.
> 
> **Harper:** From what I can tell, you’re the only reason it’s still running. Your unique combination of compassion and authority is what is keeping it from burning itself to the ground.

Jack laughs, thanking her for the support. Pulling herself together, Harper gears up to go face the beast once again. Before she leaves, however, she requests that when Jack and Eric figure out who vandalized the set, they let her know. She wants the responsibility of bringing them down – and if possible, she wants them expelled.

Clearly, Harper is _not_ happy with how her first production has been so drastically derailed. Jack nods along, still on his authoritarian kick.

> **Jack:** Believe me, Miss Burgess, justice will be dealt.

She nods appreciatively, stepping out.

**INT. AAA - JANITOR’S CLOSET - DAY**

Mission mostly accomplished, Riley and Isadora begin taking down their investigation materials. Although they work in content silence, Riley takes the initiative to state how nice it was to work with Isadora again. To be on the same page.

For what it’s worth, Isadora feels the same. They exchange tentative smiles.

> **Isadora:** You know, given how much of a mess things seem to be no matter what we try to do… I don’t see why I should be willingly giving up a friend.

Riley’s smile widens. Finally, something falling back into place. Not the same as it was, but better than nothing.

As she finishes gathering her things, Riley claims it’s a shame they weren’t able to narrow down the actual culprit. Even though they were able to clear Zay’s name. Isadora agrees, giving her a nod as she heads out.

Only as soon as she’s gone, Isadora launches back into action. She doesn’t seem at all finished with the investigation, going through certain pieces of evidence one final time and putting pieces together. Perhaps she knows more than she’s letting on…

**INT. MAYA’S APARTMENT - NIGHT**

Katy is up late, doing research on her laptop and looking particularly drained. It’s hard to see what she’s looking up, but a couple of photos appear to be buildings of some kind. She changes the window as soon as Maya enters, having just finished her nightly routine and picking up her pre-sleep tea from the countertop.

While she has her attention, Maya enthusiastically reminds Katy to purchase her tickets for _Into the Woods _when they go on pre-sale tomorrow. Not that they’ll sell out, likely, but Maya wants to make sure she’s front and center for her grand performance as The Witch.

From the expression on her face, whatever Katy says next is not going to be pleasant. She gently informs Maya that she has to work a double shift that night, so she won’t be able to make it. Things are sort of tight right now financially, and she doesn’t know if she can spare the ticket.

Maya nearly drops her tea. She doesn’t understand what the big deal is. Money is _always_ tight, and this is one of her dream roles. Katy knows how much this show means to her. She already told her she’d be there. Can’t there be an exception? Just for opening night?

It’s evident that she wants to make an exception more than anything… but for whatever reason, her hands seem to be more tied than usual. Katy apologizes profusely, but Maya merely swallows the disappointment and says she’s heading to bed. But the darkness of the news looms over them, and perfectly sets the tone for Maya’s launch into her lament…

**INT. AAA - AUDITORIUM - NIGHT**

* * *

**Song Cue ♫ ♪ “Lament” as performed by Into the Woods Original Broadway Cast || Performed by Maya Hart**

Maya spins to face the stage lights, in full costume and makeup for the glamorous version of The Witch. The only thing more stunning than her appearance are her vocals, cutting through the heartbreak of the solo like a knife. It’s haunting, setting the perfect backdrop…

**INT. AAA - BLACK BOX THEATER - DAY**

For Isadora’s meeting with Principal Hunter. She thanks him for meeting her during the lunch hour, expressing that she thinks she has evidence that might help him solve the vandalism case. She explains that she observed some odd behavior during the fight that broke out at rehearsal, and it tipped her off. So she went back to look through the evidence… and things don’t add up.

Jack takes a look at the timeline she hands him, his expression difficult to read. He doesn’t look triumphant or pleased, that’s for sure. Isadora doesn’t either, simply stating that he should go back and look more closely into the student testimonials – a couple in particular… but maybe not as a _couple_ at all.

**INT. AAA - JACK’S OFFICE - DAY**

This is how Jack ends up sitting down with Dylan and Asher, only separately this time around rather than as a given duo. As he discusses with each of them, under the casual guise of just double checking his sources, it becomes clear that there are holes in their story. The moment they’re not together to back one another up, their airtight delivery falls apart somewhat.

Asher claims that around the time of what would’ve been prep for the vandalism, Lucas was holding the door so that Nate and Jade could move a stack of wood; Dylan claims that he was with him unloading the Jeep. However, when Jack goes back to read the testimonies of Jade and Nate about their role in the supplies move, Lucas is never mentioned.

**INT. AAA - BLACK BOX THEATER - DAY**

Isadora concludes her explanation, stating that the reason she got suspicious was because Lucas jumped in to _stop_ the fight during rehearsal rather than join in or egg them on. Not that he revels in destruction, but if she knows anything about him, it’s that he _never_ lets someone else take the fall for his actions. He wasn’t going to let the performers get roughed up for something they didn’t cause – even one as aggravating as Maya.

She also begs Jack not to say anything about her involvement – that she remain anonymous. He gives her a nod, looking back at the evidence solemnly.

**INT. AAA - JACK’S OFFICE - NIGHT**

We’re following Lucas and his snapback from behind as he makes his way through the halls of AAA, there early to help set up for opening night. He knocks on Jack’s door, claiming that he asked to see him. Jack nods, gesturing him inside and to shut the door behind him.

* * *

The conversation starts off with their usual rapport and comfort, Lucas slouching into his chair across the desk from where Jack is standing. He states cheekily that they should probably make this quick, as he’s got lots of stage managing to do and all that. Jack promises not to take too much of his time, beginning a subtle and targeted questioning of how Lucas recalls the day of the vandalism. It seems like they’re simply still beating a dead horse, but he plays along anyway, not even realizing he’s being interrogated until about halfway through.

And by that point, it’s too late. He’s slipped up, said a couple of things that don’t line up with his original alibi or conflict with the other techie testimonies. Then Jack pulls out all the stops, the discussion growing tenser and quicker with each piece of evidence he stacks against him. As he starts laying out the timeline of how things _really_ happened –

**INT. AAA - FLASHBACK - NIGHT**

We see it unfold in real time. Lucas taking his longer look at the treasured set piece, then ducking out of supplies haul and techie dinner to make moves. Asher and Dylan notice him disappear at dinner, but merely exchange a look and don’t say anything about it.

The flashbacks unravel with Jack’s pointed narration – and Lucas’s protests – heightening in intensity right up to the moment flashback Lucas makes the first dent in the set piece and begins the vandalism. Just as the screen is shrouded in black by falling debris –

**INT. AAA - JACK’S OFFICE - NIGHT**

Finally, finally, Lucas cracks.

> **Lucas:** Alright, ALRIGHT! I did it, is that what you want to hear? It was me! I fucked up the set piece!

The office is cold with silence. Lucas tries to hold Jack’s gaze until he can’t take it any longer, falling back in the chair again and tearing his eyes away.

Jack doesn’t speak with anger when he addresses him again. It’s a gentle disappointment, and admittedly confused. He asks if the vandalism was worth it, why he thought any of it was a good idea in the first place.

> **Jack:** And I don’t understand… to have Asher and Dylan _lie_ for you?
> 
> **Lucas: **I didn’t ask them to –
> 
> **Jack: **And what about Dave? Did whatever you were trying to deal with feel better when one of your good friends had to see their own hard work destroyed?
> 
> **Lucas:**_[ almost inaudible ] _You don’t get it.
> 
> **Jack:** You’re right, I don’t! I don’t get it, Lucas! So look at me and tell me why the hell you did this –
> 
> **Lucas:** Because it doesn’t even matter!

Lucas’s outburst is fierce, his anger more volcanic than it’s been all semester. Jack found a way to light the fuse and now he’s explosive, ranting about how everything they’re all obsessing over all the time is so stupid and means absolutely nothing. Why should it matter if a set piece gets ruined, when no one cares about what the techies do anyway? Why should it matter if his friends lie, when no one is even going to remember they were here in five years because no one cares about them anyway? It’s a stupid high school show, at a stupid fucking school, where his only talent is messing everything up because he’s a nobody who was never meant to be here anyway.

> **Lucas:** So yeah, I did it. Do whatever you’re going to do. Suspend me, kick me out for good, drop me off the catwalk! I don’t care. I don’t care, none of it fucking MATTERS!

The declaration hangs in the oppressive quiet. Because despite the words he’s saying, it’s pretty clear Lucas _does_ care – from the way his cheeks are flushed, the way his voice cracks, how it’s almost like he can’t breathe. And the only reason he’s able to look Jack in the eyes and basically dare him to do his worst is because that’s what he wants.

He’s searching for punishment, because he thinks he deserves it.

Eventually Lucas can’t take it anymore, shaking his head and hiding in his hands. Jack stares at him, obviously deep in thought. He’s been preaching about the swift soundness of consequences all investigation long, and finally, the time has come to deliver it…

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is gearing up to get ready to go, duffle bag ready on the couch. Before she grabs it, she gets a notification on her phone from Instagram. Yindra has tagged her in a series of photos, featuring throwback pictures from _Les Mis_ and a caption encouraging people to come to opening night of _Into the Woods_ to see the same crew pull off another insane performance.

Seeing the _Les Mis _photos is a true shock. It feels like a million years ago, and as she flips through them again she can’t help but ruminate on how much has changed for the worse. Maya’s tantrum aside, everyone was in much better spirits at the time. She had a tentative friendship with Charlie. She wasn’t on the rocks with the techies. In fact, there’s a particularly cute moment captured of Riley, Isadora, and Lucas in the background of one of Yindra’s photos, prompting Riley to go into her photos and take a look for herself.

It’s all too much. The pictures with Lucas, the photos taken with both her parents, when now one of them is stepping out of their home for good.

Before she knows it she’s in tears, wiping at them frantically without much success. Cory enters from the hall, asking if she’s ready to head out until he realizes what’s happening. He jogs over to join her on the couch, questioning what’s going on and trying to get her to talk to him.

Riley shakes her head wordlessly, trying to catch her breath and stop the tears. She hates crying enough in front of people, let _alone_ her parents. But she’s hit a wall, and there’s no stopping them. She admits that this year is like freshman year all over again.

> **Riley: **Yeah, I’m no longer the target, but no one is happy. People that should be supporting one another are at war. And now my mom is walking out of my life, and it’s like… everything is falling apart. When does it stop? _[ tearfully ] _I can’t do this alone.

Cory makes her look at him, wrapping an arm around her shoulders. He’s deeply serious as he assures her that just because Topanga is moving out of the apartment does not mean she’s disappearing. And that aside, she is _not_ alone. She is going to get through this, and be stronger for it. But she’s not ever going to do it alone.

* * *

**Song Cue ♫ ♪ “No One Is Alone” as performed by _Into the Woods _Original Broadway Cast || Performed by Cory Matthews & Jack Hunter (feat. Riley Matthews & Lucas James Friar)**

Cory softly leads us into the first verse of the emotional heart of the musical, attempting to comfort his kind-hearted, empathetic daughter (_“Mother cannot guide you, now you’re on your own / Only me beside you, still you’re not alone”_). For once, Riley opts to accept the comfort, leaning into him and absorbing the sentiment for all that it’s worth.

**INT. AAA - JACK’S OFFICE - NIGHT**

As Jack continues to look at Lucas, something in his expression shifts. All plans and procedures go out the window as he takes on the second verse, vaguely insinuating that perhaps there isn’t such a simple solution (“_Wrong things, right things / Who can say what’s true?”_) It’s evident that he isn’t going to rat him out, and Lucas lifting his head to stare at him in surprise emphasizes how unprecedented it is.

It’s behind them now, but Jack’s continued words of advice serve as a warning to his wayward trouble-making technician (_“You move just a finger / Say the slightest word / Something’s bound to linger, be heard / No one acts alone, careful, no one is alone”_). He comes around the front of the desk and leans closer, Lucas hanging on his every word. It’s clear that he’ll protect him, but he can’t protect him against everything. He has to be careful…

Together, Jack and Cory go on with the themes about why people make mistakes, both of the moments between mentor and mentee feeling distinctly familial. And as the final chorus unfolds and Riley and Lucas quietly join in, a montage of small moments within other important bonds highlight the exact message that the song is attempting to convey.

  * Charlie accepts a hug from ELEANOR GARDNER as he heads out the door, wishing him the best of luck. AMBROSE GARDNER gives him a proud nod from his arm chair in the living room.
  * Haley, Nigel, Clarissa, Yindra, and Zay toast at Chubbie’s, enjoying a quick pre-show meal before showing up for call time.
  * Eric reunites with ANGELA MOORE as she shows up for opening night, giving him an enthusiastic hug in his office as Shawn watches fondly from the doorway.
  * The techie crew sans Lucas and Isadora is meeting for their pre-show hangout, laughing together and hyping one another up. They all give Dave a group hug, considering the production cycle he’s had.

**INT. AAA - GIRLS DRESSING ROOM - NIGHT**

The last of the montage moments belongs to Isadora, who gets a call from Valerie that she opts to answer. Although we don’t hear the conversation, it’s clear from the joy that takes over her features that it’s good news. She excitedly grabs Maya’s attention, sharing the news with her.

Although she’s putting on a happy face for Isadora, it’s clear something about the news stings. Maya chews her lip as Isadora gets back to the call, the believability of her enthusiasm fading.

**INT. AAA - BOYS DRESSING ROOM - NIGHT**

And as the song comes to an end, we’re back with Farkle – who is, in fact, quite alone. Behind him, Yogi and Nigel are doing a quick costume change and discussing how opening night is going so far, indicating that we’re already well into Act II. Neither of them acknowledge Farkle as they head out again, although it doesn’t seem to faze him.

* * *

**INT. AAA - DRESSING ROOM HALL - NIGHT**

He lets out a sigh as he heads back into the dressing room hall, quiet save for the light sound from the stage leaking through the doors to the wings.

That is, until he thinks he hears something else. He listens carefully as the sound of crying becomes clearer, coming from the girls dressing room.

**INT. AAA - GIRLS DRESSING ROOM - NIGHT**

Maya is in there alone, attempting to stifle her tears. She keeps trying to take deep breaths and bring it back, but sometimes emotion demands to be felt.

Farkle pokes his head in, his suspicions confirmed. He debates entering for a moment, even almost turning away before he finds himself heading in anyway. Maya spots him in the mirror, letting out a huff and not bothering to reprimand him for being in the wrong dressing room. Her mind is far from that at the moment anyway.

> **Maya: **How pathetic is it that a world famous starlet can show up on opening night for her bastard daughter, and mine can’t even skip one lousy shift at a run-down diner no one cares about? _[ with a sniffle ] _Maybe that’s karma.

Farkle approaches without comment, only speaking when he’s close enough that she could lash out at him and she chooses not to. Coast clear, he reaches into a pocket of his costume and retrieves a handkerchief, nodding to her.

> **Farkle:** You’ll ruin your makeup.

Maya lets out a dry laugh, taking another deep breath. Farkle slowly reaches forward and touches up her mascara, dabbing at her tears and doing his best to fix them. It’s a surprisingly tender moment, a resounding echo of the way things used to be. And _boy_, does it ache.

Still, Farkle made his mistakes, and he has to live with them. Maya says as much, warning him in a murmur that this doesn’t change anything. She’s still pissed at him, and they’re not fine. He responds flatly, expressing that not once did he believe it would be any different. But he finishes helping her anyway.

Once she’s all cleaned up, her gaze lingers on him for a long beat. Then she warns him that he’s going to miss his cue, flurrying out and leaving Farkle in the dressing room. Alone once again.

He twists the handkerchief in his fingers, his starting vocals floating in…

**INT. AAA - AUDITORIUM - NIGHT**

* * *

**Song Cue ♫ ♪ “No More” as performed by _Into the Woods_ Original Broadway Cast || Performed by Farkle Minkus (feat. Nigel Chey & Stuart Minkus)**

Much like his rendition of “Javert’s Suicide” a year ago, there is a subdued melancholy that drives Farkle’s performances that cannot be understated. Wherever all his manic energy went, it’s been replaced by a powerhouse of emotion that hits at something raw.

While Nigel starts off the song with him in his role as the Narrator, about a minute in the visual shifts and suddenly it’s STUART MINKUS on stage with him. Another Farkle Minkus twist on reality, his busybody father suddenly sharing the song about exhaustion and abandonment. Truly ironic, considering the real Stuart isn’t even in the audience.

But clearly, he wishes he was. There are many things Farkle wishes were different than they are, but he’s powerless to change it. _“Like father, like son.” _As he gets to the final verse, Stuart is gone too, and all there is to focus on is him. Solitary, center stage, delivering one of the most wrought out and impassioned solos he’s delivered in ages.

* * *

**INT. AAA - DRESSING ROOM HALL - NIGHT**

Jack and Eric bump into one another as they’re both searching for Harper, aiming to wish her congratulations before the show ends and they’re swarmed by everyone else. They have a somewhat awkward exchange, uncertain how to address the last time they conversed and it ended in flames.

Ultimately, Jack opts to take the high road. He states that he figures he owes Eric an apology, as he let his frustration get the best of him the other night. And, unsurprisingly, Eric’s take on the situation proved to be a little more apt than he credited him for. Eric hardly seems like he’s going to hold a grudge, giving him a bracing pat on the shoulder and warm smile as he assures him there’s no hard feelings. It hardly matters anyway, considering there’s no one to sentence.

Before Jack can confirm or deny this, Harper emerges from the hall. They both greet her in enthusiastic whispers, not aiming to disrupt the performance entering its final scenes. She really did manage to pull together an astounding show, in spite of everything that happened. A great first notch in her belt.

Harper is grateful. Eric excuses himself, allowing Jack to share his own early congratulations as well. She accepts it, then questions what ended up happening with the vandalism. Was he able to figure out the culprit (she hopes)? Although there’s a moment of hesitation, Jack informs her that unfortunately, no guilty party ever rose to the surface.

> **Jack:** Suppose the kids were right to belittle our amateur detective agency.

Harper seems disappointed, but Jack redirects her attention and reminds her that she won’t want to miss the final number. She nods, giving him one last thanks before jogging back towards the hall. So Lucas is never outed as the vandal, leaving the crime to remain an AAA mystery for the history books… and the orchestration of our finale pulls us away…

**INT. AAA - AUDITORIUM - NIGHT**

* * *

**Song Cue ♫ ♪ “Finale / Children Will Listen” as performed by_ Into the Woods_ Original Broadway Cast || Performed by AAA Juniors (starting at 1:00)**

We jump into the finale right as Yindra is giving her guidance from beyond, Farkle, Riley, Isadora, and Charlie gathered together at center stage and sharing their story with the new life that has entered their world. Farkle mentions each of them in his retelling to his son, the camera hanging on each moment between them.

As Maya takes over, more of the cast begins to filter onto the stage. As they reach the point of singing as a chorus, the message of the song takes on a stronger meaning as we hang on each of our main players. Focus on Charlie in the front row shifts to Zay behind him, halfway through the recitation of the lines _“Careful the spell you cast, not just on children / Sometimes the spell may last past what you can see / And turn against you.”_

**INT. AAA - NIGHT**

And the influence – or lack thereof – of family in their lives is paramount. Another post-show reunion with family highlights this well enough. Isadora accepts an overtly thrilled greeting from Valerie, although she remembers not to hug her and sticks to simply lauding her with congratulations. Asher and Dylan take a group selfie with their families in their all-black stage crew ensembles.

Farkle greets his siblings and mother, but the absence of Stuart looms large. Riley shares a tight hug with her mother, Cory watching bittersweetly with Auggie. Charlie chats with the full Gardner clan, Zay glancing over his shoulder towards him from where he’s standing with family across the room. Maya roams, uncertain what to do with herself.

**INT. AAA - TECHNICIAN’S BOOTH - NIGHT**

Lucas settles into the booth alone, sitting at the lighting booth and looking at the empty stage. He looks at the half-baked set piece, guilt more evident on his face than earlier.

**INT. AAA - AUDITORIUM - NIGHT**

In spite of all this, the show must go on. The episode wraps with the last minute or so of the musical, the entire ensemble coming together to repeat the final chorus until Riley whips back around to offer one more “I wish.”

_Sometimes people leave you halfway through the wood,  
Do not let it grieve you, no one leaves for good._

Well… we wish.

** _END OF EPISODE._ **


	7. Valerie De La Cruz [ 2.04 ]

**Summary for the Chapter:**

> MOTHER KNOWS BEST – A guest appearance by Isadora’s starlet mother throws AAA into disarray. As Jack attempts to maintain control with a full plate, Valerie encourages the students to channel their current woes into more authentic performances. But lighting a match in dry woods might just set the whole forest ablaze.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**EXT. AIRPLANE - DAY**

**Song Cue ♫ ♪ “The Bitch Is Back / Dress You Up” as performed by Glee Cast || Performed by Zay Babineaux & Maya Hart (feat. AAA Juniors)**

As the opening guitar riffs launch us headfirst into another episode of _AMBITION_, a commercial airliner makes its way into a safe and timely descent at John F. Kennedy airport.

**INT. AAA - AUDITORIUM - DAY**

But it’s ZAY BABINEAUX and MAYA HART who are leading the number, the A class goofing around before the school day officially begins. The two reigning divas don’t pull any punches with the rendition, delivering it with impressive runs, infectious energy, and undeniable talent.

The two of them interact with the rest of their classmates as the performance unfolds, grooving around and spreading the energy. Maya leans back against ISADORA DE LA CRUZ during one particular run, giving her a wink. Zay spins RILEY MATTHEWS. Amidst the spectacle and during a fun dance sequence between the two divas, CHARLIE GARDNER watches with his jaw hanging open and looking especially captivated.

**EXT. NEW YORK STREETS - DAY**

Intercut with the loose performance, a series of shots convey a new guest making their way into the world of AAA. A pair of glossy stilettos step their way out of an expensive town car. A generous tip drops through the window into the passenger seat.

Those stilettos march their way down the streets, heads turning as the figure passes. People whisper excitedly. _Is that…?_

We follow those heels as they cross a busy intersection, not bothering to wait for the signal. Jaywalking is New York tradition, and traffic will wait. Especially for them.

As the song comes to an end and Zay and Maya belt out their best ending note, those heels strut their way up the vast steps of Adams and push through the doors with a flourish.

**INT. AAA - AUDITORIUM - DAY**

The class rounds out the number with enthusiasm, Zay and Maya standing front and center back to back as they soak in the theatrics of a spectacular performance. Here we go again!

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Well, for those in the know, anyway. FARKLE MINKUS is seated alone in the black box, glancing at the clock and all the empty seats around him. It’s clear he missed a memo, but he has no idea what he’s supposed to be doing instead.

The silence of the room is stark compared to the bombastic opening number we just saw. He slouches further in his seat, lightly tugging at his hair absentmindedly.

He’s saved from isolation when JACK HUNTER pokes his head in. He asks what Farkle is doing in there, considering they’re supposed to be meeting in the auditorium this morning. Embarrassed, Farkle quickly gets to his feet.

> **Farkle: **Well, uh… nobody told me.

Jack waves him off, stating they can walk there together seeing as that’s also where he’s headed. Not the most ideal social cred, to be walking around with your principal, but suppose it’s better than being alone.

**INT. AAA - AUDITORIUM - DAY**

The two of them arrive right on time, HARPER BURGESS showing up as well and gearing up to start the day. She quiets the upbeat chatter of the class, Farkle feeling the sting of being left out simply based on the good mood they’re all carrying that he didn’t experience. As Harper gets them to settle in the front and center section, LUCAS FRIAR descends from the booth and comes to join the other techies.

Harper explains that they’ll be having a special guest lecturer this week, and instantly the class grows excited once again. This launches into a series of guesses as to who it could possibly be, none of them even close to the mark.

> **Darby: **Is it my mom? They just made a huge breakthrough on her cancer research. She should’ve told me she was coming!
> 
> **Haley: **Again, Darbs, someone we _care_ about.
> 
> **Yogi: **It has to be Dick Cheney. If Sean Spicer can be on _Dancing With the Stars_ –

Other names are thrown around. Barack Obama. The kid who invented flossing. DYLAN ORLANDO offers another idea, sitting up in his seat next to ASHER GARCIA.

> **Dylan:** Jesus H. Christ. It’s Jesus, isn’t it?
> 
> _[ He leans forward in his seat, tapping Charlie’s shoulder to get his attention. ]_
> 
> **Dylan: **Charlie, you’re friends with Jesus, right?

Charlie clearly has no idea how to respond to that, mildly horrified, but SARAH CARLSON beats him to it anyway.

> **Sarah:** Why would Jesus come to Triple A?
> 
> **Nate: **Someone has to save us from our sins.
> 
> **Dylan: **If he can do _Queer Eye_, I think he could make an appearance.

Of course, no one can top DAVE WILLIAMS when it comes to ideas.

> **Dave:** Is it Ice T? He’s my godfather.

Before that little bombshell can be unpacked, the mystery is solved. ERIC MATTHEWS eagerly makes his way onto the stages through the wings, followed closely behind by the glamorous VALERIE DE LA CRUZ. Tall, tan, gorgeous, wearing those stiletto heels and looking absolutely fabulous. Her smile is brighter than the stage lights as she gives a wave to them all.

As expected, the class erupts into chaos. Maya can’t believe this is happening, claiming she’s going to pass out. Isadora looks torn between excitement and dread. Lucas looks disgusted, glaring at the adults assembled on stage with his mouth hanging open.

When Valerie is ON, it should be noted that everything that comes out of her mouth is at peak theatrical.

> **Valerie:** And let me just say – what an _honor_ it is to be here with all of you. This week, we’re going to reach your highest heights… but also dig _deep_. Do you all want this insufferable beauty of a lifestyle badly enough? Can you be the beast necessary to live it? What are you willing to share – or sacrifice – to have it? And, of course, do you have the talent? _[ a beat ] _Suffice to say, my dear, dear dreamers in training, I bet this week will change your lives.

Oh, there’s no doubt about that, Madame De La Cruz. Off her charismatic wink –

** _Cue title sequence._ **

**INT. AAA - CAFETERIA - DAY**

Maya is sitting with Isadora at lunch, DARBY WINTERS arguing about something with NIGEL CHEY and YINDRA AMINO a couple seats down. Maya is brimming with excitement, unable to contain it as the two of them talk about Valerie’s visit.

> **Maya:** I can’t believe it. Did you know?
> 
> **Isadora:**_ [ mirroring her enthusiasm ]_ It was so hard not to tell you.

Maya pretends to swat at her, shaking her head but still grinning wide. They immediately launch into eager discussion.

**EXT. AAA - LUNCH COURTYARD - DAY**

From the usual techie table, Lucas watches Maya and Isadora through the window to the cafeteria with evident disdain. Dylan and Asher are seated across from him, trying to distract him and talk him down from the turbulent emotions Valerie’s presence might have brought.

The subject of the upcoming holiday of Thanksgiving comes up, Lucas explaining his and Isadora’s usual tradition of ditching their respective familial obligations (in his case, none) and just going to eat somewhere together. Nothing remotely holiday-inspired, but more fun than either of their other plans and distinctly theirs. Considering Valerie’s presence, however, he figures that will likely not be happening this year.

Dylan states that if he doesn’t have better plans, then he should come have Thanksgiving with their families. Asher smiles, taking his hand on the tabletop and agreeing. The soft moment lingers between the two of them. Dylan goes on to explain that there’s nothing better than a Garcia-Orlando holiday gathering, especially Thanksgiving.

> **Asher:** Well, my dad _did_ set the oven on fire last year.
> 
> **Dylan: **And you know, I think that was exactly what we needed. I think every holiday needs a little bit of character.
> 
> **Asher: **I would not call “a degree of separation away from bodily injury” character.
> 
> **Dylan:** And _that_ is what you have me for.

Asher rolls his eyes, Dylan giving him one of his sunshine smiles. Lucas watches them in mild amusement, effectively distracted enough to concede and state he’ll join them for the holiday.

**INT. AAA - CAFETERIA - DAY**

At the opposite end of the cafeteria, Zay and Riley are eating lunch with CLARISSA CRUZ and HALEY FISHER. As Haley arrives and settles into the seat next to her best friend, she breathlessly declares that she’s figured it out. She has finally figured out why Charlie isn’t giving her – or anyone else, for that matter – the time of day.

They prompt her to continue, Zay subtly more intrigued than Riley or Clarissa. Haley boldly announces her revelation, convinced of its truth.

> **Haley: **Charlie is _so_ into Maya!

She goes on to explain how she can’t believe she didn’t see it before, but the way he was so obviously thirsting this morning before class while she and Zay were riffing off made it painfully clear. Not to mention Maya is so unattainable, so it makes sense why he’s been harboring this for so long. Zay listens and nods along, no longer the least bit concerned and fully amused.

As Clarissa pulls Haley into the holes in that theory, Zay and Riley focus on their own conversation. They get into discussing their current celebrity lecturer, Riley admitting that it’s an exciting prospect, but considering she hardly knew about Valerie before she got here it’s not quite as major for her as it seems to be for the rest of them.

> **Zay: **I know you had a whole other life before Triple A and all that, but were you like, Amish or what?

Riley nudges him playfully. She says she can’t even think much about it anyway, as she’s totally preoccupied with the upcoming holiday. Considering the mess her family is at the moment, she has very little faith that this is going to go well. She can’t stomach the idea of having to watch her parents pretend to get along and then having Auggie ask her every five minutes if they seem like they like one another again and having to find ways to tell him they’re not getting back together.

> **Riley: **Not to mention everyone here is still all over the place and I – sorry for complaining, but could _one_ thing in my life not be falling apart?

Zay waves off her unnecessary apology. He points out that if she’s frustrated with how things are going with their class, then maybe this week is the time to say something about it. With Valerie here people are going to be paying way more attention than usual, so maybe she can take the chance to actually make a statement and have people listen. Make everyone stop being so stupid, if nothing else.

A nice idea, but easier said than done. Especially when you can’t even let go of your own grievances. This is true as ever as Charlie approaches to join them, exchanging an awkward smile with Riley. She still doesn’t know how to deal with him and excuses herself, vacating the seat for Charlie to occupy.

The dismissal clearly stings for Charlie. He watches her go before plopping into the seat next to Zay, engaging in conversation about Valerie. Charlie questions if Zay is excited about her presence, which he admits to but also clarifies that he’s nowhere near as fanatic as Maya. Valerie is great, but she’s no Rihanna or Queen Bey.

More than that, Zay is intrigued by what chaos she’s going to bring to the table. Seems like it’ll be a week for bold choices – to which he jokingly makes a quip about how maybe Charlie can admit his feelings for Maya. Charlie is confused, asking him what he’s talking about, but Zay just waves him off playfully.

> **Charlie:** Zay, what? _[ with a laugh, but also indignant ] _What are you talking about?

Zay shrugs like he doesn’t know what Charlie is bothering him about, but he can’t hold back his grin. He pops a French fry into his mouth, raising his eyebrows.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is seated at his desk, obviously already exhausted as he discusses the plan for the week with Eric and Harper. As he sees it, he’s already doing everything he can to keep the junior class from imploding, and bringing in such a high-profile figure with the means to cause chaos is just throwing a wrench into things. Eric and Harper defend their belief that perhaps her presence will actually prime the students to work together more effectively, but Jack is skeptical.

> **Jack:** I’m just saying, I’m not breaking my back like Atlas holding up the sky only for it all to come crashing down for some Hollywood bim –

His less-than-complimentary description of Valerie is interrupted by her arrival, Jack quickly changing tracks and offering her a polite smile as he rises to his feet. She jokingly states he doesn’t need to get up on her account, accepting his hand to shake.

> **Jack: **We were just discussing the current… fragile status of the junior class. It’s imperative that we don’t do anything to upset that precarious balance or do anything that might… aggravate rather than mediate.
> 
> **Valerie:** Oh, say no more, Jackson. I know _all_ about conflict mediation. When my mentor JLo got into a tiff with my other mentor Mariah, it was basically up to me to single-handedly snuff out that inferno –

Jack looks like he is not going to survive the week. Harper swoops in to change the subject, stating that she and Valerie should go set up the classroom. She agrees happily, giving one more thanks to Jack and Eric – especially Eric, given how wonderful he is with Isadora and for arranging this week – before fluttering off.

Once they’re alone, Eric and Jack take the opportunity to reiterate their plans for Thanksgiving. Presently, Eric is planning to join the Hunters for the holiday in an effort to avoid the Cory & Topanga drama for the year. It’s clear they’re both looking forward to it, as they haven’t had much time to actually enjoy one another’s company outside of school-related business.

Jack also makes a point of reminding Eric that his and Shawn’s +1s will be there as well, so Eric is more than welcome to bring along a friend or… whomever. Eric nervously laughs off the notion, fumbling through an excuse for why he likely won’t have one but appreciating the sentiment either way.

**INT. AAA - AUDITORIUM - DAY**

Farkle is still sitting in the same spot as when they dismissed for lunch, flipping through _Death of a Salesman_ half-heartedly. It’s unclear, but it seems like he didn’t bother to go for break at all.

As his classmates begin returning and settling back in around him, none of them pay him any attention. It’s like they don’t even notice him. Farkle has basically become furniture at this point – just incidentally iced out of the picture rather than intentionally ostracized.

Somehow, this is worse than being villainized. He’s being forgotten, and it evidently hurts Farkle to realize it as he watches the rest of the class meander in. He thinks about saying something to Nigel who has sat down nearby and is discussing something avidly with NICK YOGI, but Shawn takes the stage before he can speak.

As Shawn informs them, they will not be meeting in here for class, but actually, in the black box. Although the techies point out that they always meet in here first, Shawn flatly claims that their current guest lecturer had other plans. So away we go…

**INT. AAA - BLACK BOX THEATER - DAY**

Valerie greets the junior A class with a flourish, surrounded by a completely rearranged black box theater. Most objects have been pushed to the sides, and the desks are now organized in a circular socratic style – with Miss De La Cruz in the very center. She opens her arms wide and welcomes them to the classroom.

> **Valerie: **Come in, come in, and take a seat. Sit wherever your instincts draw you to go.

While most of the class is excited by this introduction, not everyone is so starstruck.

> **Lucas:** I’m being drawn out of this building…
> 
> **Shawn:**_ [ spinning him back around by the shoulders ] _Sit down, Friar.

As everyone settles in, Valerie explains what her approach for the week is going to be (and yes, her delivery does feel a little bit like Cooper Anderson on _Glee_). She greatly looks forward to getting to know each of them, and notes that she is endeavoring to sit down with each of them one-on-one through the course of the week to discuss their aspirations, their hesitations… and sign autographs if they so desire, ha ha ha!

In the midst of this lecture, she begins randomly picking students from the class to try and get them to speak about who they are. She picks the worst example to start with, turning to Charlie and asking him to tell her who he is in front of the entire class.

> **Charlie:** … who, me?
> 
> **Valerie:** Well, you and me are locking eyes, aren’t we? We’re forming a connection. You sense that?
> 
> **Charlie:** Um –
> 
> **Valerie: **So, tell me then…
> 
> **Haley, amused: **Charlie.
> 
> **Valerie:** Charlie! Tell me, Charlie. Who _are_ you?

Charlie is speechless, the rest of the class snickering or reacting accordingly. From where he’s sitting next to Riley, Zay grimaces. Being put on the spot doesn’t help, and Valerie catches onto this. She assures Charlie that it’s fine, and that they’ll have plenty of time to chat later. She manages to spin it into something positive, claiming his uncertainty highlights exactly what she thinks is the key to the week for them.

> **Valerie:** You saw, there, how Charlie hesitated? That’s not a bad thing. What that is showcasing, my dears, is the internal search for _authenticity_. He did not merely throw out some practiced answer – he took the time to _contemplate_ the question, to dig deep and consider what such an answer might be.
> 
> **Sarah:** _[ under her breath ] _Like there’s any depth to dig.

Emotional authenticity, Valerie elaborates, is the core of any talented star in the making. Audiences don’t connect to glitz and glamour – although we love some glam! – they connect to the emotion a performer is conveying through their work.

All in all, it’s clear that Valerie really does intend to make progress with these students and wants to help them in any way she can. But the A class is far from ready for emotional vulnerability, which she quickly realizes, so they’ll have to start a little smaller first. Thusly, Valerie decides they could do with a warm up.

> **Maya: **This is the best day of my life.
> 
> **Lucas:** This is insane.

* * *

**Song Cue ♫ ♪ “When I Grow Up” as performed by The Pussycat Dolls || Performed by Valerie De La Cruz (feat. AAA Juniors)**

Yes, this is an insane choice to sing while mentoring at a high school. Yes, it’s also a direct homage to Valerie’s actress’ PCD roots. But the _good_ aspect to the choice is how it energizes the students, just shocking and upbeat enough to create a compelling combination to break through the uncertainty and tension.

While most of the class gets pulled into the fun and starts grooving with their celebrity teacher – Maya the first to jump at the chance – not all of the junior A class is participating. Farkle stays slouched in his seat and doodles apathetically in his notebook, this out-of-character nonchalance catching the eye of Eric amidst the chaos. Isadora is somewhere between embarrassed and overwhelmed, covering her eyes and peeking out between her fingers to watch. Lucas looks disgusted, glancing around him as if he cannot believe this is happening.

Even still, the song actually does speak pretty pointedly to the situation. Valerie is coming from where they all believe they desperately want to be, and perhaps that’s not as rosy and desirable as it seems on the surface. _“Be careful what you wish for, cause you just might get it…”_

It’s also a nice change of pace to see most of our main cast enjoying a performance. Maya, Riley, Zay, and Charlie take the brunt of backing up Valerie, and it’s fun to watch. When they break into duos, Riley pairs with Zay while Maya ironically pairs with Charlie (which Haley definitely reacts to).

Valerie finishes off the number with a flourish, back in the center of the circle with the junior class surrounding her. What a way to kick off her week!

* * *

**INT. AAA - JACK’S OFFICE - DAY**

On the other hand, maybe not. Jack’s expression is dismayed as Lucas sits across from him, fiercely complaining about what he just witnessed in theatre lab.

> **Lucas:** That was the most disturbing display I have ever been forced to bear witness to in my short, lamentable existence. And I was there for when Maya attempted to get our only _relatively_ diverse school to perform _The Lion King_ and casted Yogi as baby Simba because he was “the right size” for the part.
> 
> **Jack: **Good memory you’ve got there.
> 
> **Lucas, flatly:** I will _never_ be free of that.

Yes, great thanks to Zay Babineaux for shutting down _that_ concept. Subdued theatrics aside, it’s evident Jack isn’t going to argue with Lucas. He leans forward and lowers his voice, speaking conspiratorially.

> **Jack:** Look, to be honest, I’m with you. I don’t think Miss De La Cruz’s presence is going to bring anything but trouble… _[ wringing his hands ]_ and a strange amount of glitter that I _cannot_ seem to wash my hands of no matter how hard I try.

Although Lucas does crack a small smile at Jack’s commentary, he’s not so easily distracted from the issue. He asks what Jack is going to do about it, then. Valerie being here is disgusting and wrong. Can’t he evict her from the premises? Ban her from the building?

While he might daydream about such things, Jack points out that the rest of the class is _very_ enthused about her guest appearance, so it would be more of a hassle to try and remove her than just let her stay run its course. She can’t cause irreversible damage in a week, and who knows, perhaps someone will really get something out of the mentoring.

> **Lucas: **So you’re doing nothing.
> 
> **Jack: **There is a difference between doing nothing and strategically maintaining the peace…

Lucas rolls his eyes, getting up to head back to class. As he’s heading out, Jack grabs his attention once again and makes a point of tapping lightly at his temple. A subtle reminder within a dynamic that only continues to grow more interesting. _Think._

Lucas makes a face, indicating that he got the message. Then he pushes out the door, Jack smiling lightly as he goes back to his work.

The smile falters when he takes another look at the messages from the secretaries in the main office. There are one or two pointed reminders regarding the “Bradfords,” which seems to put him on edge. He immediately goes to check his email.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is in the midst of work as well, although he seems in a much better mood about their guest. He’s humming to himself when there’s a light knock at his door. He beckons Harper in without looking up – only it’s not Harper waiting in his doorway.

> **Eric, in surprise: **Miss Hart?

Yes, indeed. KATY HART is peering into his office, timid as usual in the imposing presence of AAA. Eric leaps from his seat, coming to greet her and assuring her that it’s wonderful to see her again, albeit unexpectedly. He guides her inside, questioning what she might be doing there.

> **Eric:** Hoping to catch a glimpse of our celebrity guest lecturer this week?
> 
> **Katy: **Oh, no. Maya definitely has already texted me about it, but… I couldn’t. That’s not what I came by for, in any case.

Eric is intrigued, settling back into his seat. Katy apologizes for stealing a moment from him, but she claims she needs some guidance. Urgent guidance. Eric’s expression grows more solemn, nodding for her to go on…

**INT. AAA - HALLWAY - DAY**

Maya and Isadora are chatting outside the black box, a gaggle of other students heading out from the classroom behind them. They’re not speaking softly when they discuss the new shake up for the week.

> **Haley: **We are going to learn so much from Valerie. I can feel my star shining brighter already.
> 
> **Darby: **Can you really? How do I know if I’m growing brighter?
> 
> **Nigel: **Lost cause there, Darbs.
> 
> **Sarah:** She might be loony, but she’s got a fun way of teaching. She’s gonna be a better teacher than Burgess.

Focus shifts to Isadora and Maya just as Valerie flutters her way over to them. Isadora makes a point of formally introducing them, Maya more than a little starstruck as she shakes Valerie’s hand. She eagerly compliments her on her great first lecture and emphasizes how she cannot wait for the rest of the week. So Maya holds it together, but it is more than obvious how much she admires Isadora’s starlet mother.

Valerie is tickled, stating that their class is great and she can’t wait to see what Maya whips up for her performance. After a couple more stammered thank yous Maya gets going, leaving Isadora and Valerie in content but uncertain silence as they’re thrown back into figuring out what their dynamic is again.

Searching for a conversation starter, Valerie questions if that was the same girl who threw such a fit over _Les Miserables_. Isadora confirms it is.

> **Valerie:** Well, she certainly seems to have screwed her head back onto her shoulders a little more securely. Wouldn’t you say?
> 
> **Isadora: **Yeah, well… people can change in a pretty short amount of time.

As the two of them start to head down the hall, Eric comes breezing by at a brisk pace. He slides through the black box doors, poking his head in to make sure all the students have departed.

**INT. AAA - BLACK BOX THEATER - DAY**

Harper greets him as he enters, lightly adjusting the layout of the room without incidentally messing with Valerie’s newly preferred set up. She enthusiastically states she feels good about their guest appearance for the week, as the students seem more energized than she’s seen them this semester.

> **Harper: **That was a good start, wasn’t it? Or am I just suffering from wishful thinking and a dose of starry eyes?
> 
> **Eric:** Oh, no, I’m right on your page. That’s actually what I wanted to discuss.

Eric touches base with Harper, checking to see how she’s feeling about their new lecturer stepping on her teaching time. It’s unclear whether Harper overheard the commentary from Sarah earlier, but if she did she’s doing an excellent job of concealing it. She explains that Valerie’s presence is hardly a problem for her, in fact it’s a welcome change of pace. It gives her the chance to redirect her energies towards identifying problem areas in the class dynamic.

She does admit that the day has been a draining one, however, so she’s ready to get out of there for the afternoon. She questions if Eric is planning on heading home any time soon – workaholic – and he claims he is, he simply has a couple last minute tasks to complete…

**INT. AAA - MAIN OFFICE - DAY**

One of which seems to involve Jack. He breezes past the secretaries at the front desk with an upbeat greeting, jogging back towards Jack’s office before either of them can stop him. He returns moments later in confusion, wondering where their principal is.

As the secretaries tried to tell him as he rushed past them, Jack’s already left the office. He was gone a few minutes after final bell. Some personal engagements planned, it seems.

Eric’s usual cheery demeanor deflates somewhat. The secretaries offer to pass on a message for him as he glances back towards Jack’s office, but he shakes it off.

> **Eric:** I, um… suppose I’ll just catch him tomorrow.

**INT. MAYA’S APARTMENT - NIGHT**

Katy and Maya are seated in their cramped living room, spending the evening together after a long day for them both. Dinner is leftovers from the diner, sitting open on the small coffee table in front of them on the couch.

The ladies are chatting lightly, having an impromptu girls night. Katy braids Maya’s hair, the latter pointing out that she still hasn’t figured out how she manages to do this one style so perfectly. She hasn’t managed to recreate it on her own yet.

Katy accepts the compliment, but she admittedly is still wrapping her head around how Maya really got to spend the whole day with a bona fide celebrity. Exciting, isn’t it? Maya grows excited and disrupts the braiding to whip around, gushing about the situation and how amazing the rest of the week is going to be. She’s going to get real feedback from one of her absolute diva heroes.

She also lights up with an idea, stating that Katy should 100% meet Valerie. Katy humbly claims they already met at the diner, but Maya means more officially. As parents of their daughters’ new best friends, if nothing else. She’s sure Isadora wouldn’t mind. Katy tentatively agrees that might be fun.

It’s evident there’s something else on her mind, but she’s struggling to find a way to discuss it. Maya thinks nothing of it, jumping to her feet to go and prep a soothing tea before bed. Only one problem – the stove isn’t working. It won’t light. When Maya points this out, Katy fumbles before laughing and stating she must’ve forgotten to pay the gas bill.

> **Maya: **You? Forgetting to pay a bill? It is a week for the unimaginable, huh?

Katy laughs along, Maya settling for warm milk instead. So long as she can take care of her voice and get all ready for bed. The moment to say whatever she wanted to say passes, Katy twisting her fingers together before beginning to clean up their dinner.

**INT. AAA - BLACK BOX THEATER - DAY**

As the school bell rings, we’re thrown into Valerie week _truly_ beginning. This, as it were, seems to involve yoga of a certain variety – Valerie takes a deep, theatrical inhale as she sits at the center of the classroom. The desks have been pushed along the walls and the performers are seated in a messy circle around her, emulating her breathing exercises with varying levels of commitment. Maya is following to a tee, breathing impassioned and declarative; Nigel, on the other hand, is lowkey checking his phone while everyone else’s eyes are closed.

The techies are even less convincing. They’re seated cross-legged on top of the desks rather than on the floor. Dave is seeing how long he can hold his breath as Valerie goes on to explain the importance of an even inhale and exhale, Jade and Nate timing him.

All the calm breathing puts Dylan to sleep. His head falls on Asher’s shoulder, who opens one eye to peek at him and fails to hold back a fond smile.

Lucas listens expressionlessly, watching everyone else but clearly not impressed himself. He breaks his stony facade only once, when Isadora opens her eyes to glance around and they make eye contact. For a moment, neither of them do anything – then Lucas makes a face, almost causing her to laugh and disrupt her mother’s elaborate speech on the diaphragm.

Thankfully, the meditation doesn’t last much longer. As Valerie rises to her feet and cheerfully repeats the benefits of a nice and supportive breathing technique in every day life, the class works to put their desks back in relative circular order.

Now, Valerie declares, it’s time for the real fun to begin. Who will be the first to kick off performances and set the tone for the week? A challenge certainly, but she’s more than confident _someone_ in this talented class will have the chops to pull it off…

Although it seems like Maya is chomping at the bit… someone beats her to it. No, it’s not Maya – nor Isadora, as Valerie eyeing her curiously seems to wish – but _Riley_ who raises her hand and volunteers to step up to the plate. This causes a ripple of surprise amongst the A class, but Valerie is going to encourage whoever is bold enough to do it. She gestures Riley up, swapping places with her at her desk as she takes center stage.

Riley clears her throat and gets ready to perform, only for Valerie to immediately stop her. It catches her off-guard, wondering what she could’ve already done wrong, but Valerie merely reminds her to introduce herself. Make an _entrance_ into their attention spans, really take the room by storm!

So Riley nods along, squaring her shoulders and trying the moment again. Who she is, what she’s there to do, and what she’s singing about.

> **Riley:** I’m Riley Matthews, Junior A class. I’m here because I love to perform and would love to see where it might take me… but to be honest, right now I kind of just wish everyone would stop being so stupid.

A bold statement. The class reacts in amusement, Zay raising his eyebrows and exchanging an intrigued grin with Yindra.

Tell ‘em what they need to hear, Riles.

* * *

**Song Cue ♫ ♪ “Come to Mama” as performed by Lady Gaga || Performed by Riley Matthews (feat. Valerie De La Cruz)**

Upbeat and fun but also more than to the point lyrically, Riley delivers on this Gaga bop with the enthusiasm and gusto of a girl who truly has nothing else to lose. It’s a rallying cry just as Zay suggested she try, an anthem about letting go and forgiving and forgetting lest everything fall apart. She relays the important message of coming together to work things out while playfully interacting with her classmates.

Halfway through, Valerie jumps up and joins in on the song with her. As she goes, the two of them stay at center stage and Valerie gives non-verbal tips on how to improve Riley’s performance and confidence in the midst of the song. Adjustments to her posture, reminding her to smile, lots of cute touches and little details like that. It’s a fascinating dynamic to watch, as well as to observe how Valerie coaches.

Well, to most people. Whereas Lucas was moderately engaged while Riley was performing, he checks out the moment Valerie steps in.

As they conclude the number, Valerie leads the class in uproarious applause. She congratulates Riley for a grand performance and for being brave enough to lead the charge. Definitely a job well done!

* * *

She explains that she’ll want to meet with Riley that afternoon for their one-on-one so she doesn’t forget her notes, but she’ll also be meeting with other students regardless of whether they’ve performed yet. She directs them all to the sign-up sheet that Harper has set up, where they will sign up for a one-on-one time as well as when they plan to perform.

Valerie claps to herself again as the room moves around her, bustling to sign up and regroup. The week is off to a swimming start!

**INT. AAA - PRACTICE ROOM - DAY**

Well… not for everyone, exactly. Farkle is alone in the practice room, flipping through a song book and lightly tapping out starting notes on the piano. Nothing is settling right with him. The quiet of the room doesn’t offer much help either.

As long as it lasts, that is. Farkle lifts his gaze as footsteps and voices approach, Zay and Charlie appearing outside the practice room and in the midst of conversation. It seems his status as invisible is still in effect, because the boys don’t even notice Farkle in the corner as they step just inside the doorway to have a more private discussion.

They’re chatting about Valerie’s assignment and worldly advice, all of it obviously giving Charlie a good amount of stress. Did Zay _see_ him wipe out on the first day of her visit? He laments how he doesn’t know how the hell he’s supposed to give emotional authenticity to a performance when he can’t even do that in his normal life half the time. Zay empathizes, pointing out that very truth in reference to something from earlier in their conversation – the holidays.

> **Charlie:** It’s like, what does she want me to do? Go up to my good Catholic mother and say “hello, Eleanor! Just wanted to give you the quick timely heads up that I, your darling only son, am a dirty sinner” –
> 
> _[ Farkle visibly reacts to this, eyes widening in surprise. It’s evidently news to him. ]_
> 
> **Charlie:** – “and oh, can we invite my heathen bi boyfriend that you don’t know about over for Thanksgiving dinner? Hold that thought though, gotta go give a really _emotionally authentic_ performance for my classmate’s crazy superstar mother!”

Zay pulls Charlie back from the metaphorical ledge, taking his shoulders and (ironically) encouraging him to breathe. He reminds him that he holds no expectations about Thanksgiving, so he shouldn’t consider that a concern.

And when it comes to the performance, he doesn’t have to do anything but give a good rendition of whatever he chooses to sing. Just because Valerie is here doesn’t mean that everything suddenly changes, and she’s _not_ gonna know whether what he shows her is authentic or not despite claiming she can know them all in the span of a week.

> **Zay:** So give a damn good performance like you always do, and you won’t have to worry about whether or not it’s emotionally “authentic” –
> 
> **Charlie, in a murmur: **Or the fact that she has a point…

Charlie lifts his gaze, locking eyes with him. His inability to be authentic – or know what that even means for him – isn’t something he can run from forever, and both of them know it. Zay gives him a soft look, squeezing his shoulders before giving him another reassurance. It doesn’t have to be solved today.

All in all, sort of an intense and intimate conversation to accidentally overhear. Farkle watches as the two of them exit back into the hall, obviously internalizing this new information but having no clue what to do with it.

**INT. AAA - JACK’S OFFICE - DAY**

Eric finally manages to catch up with Jack, catching him during the lunch hour. He promises to make it quick, before throwing in some offhand commentary about Jack’s early disappearance yesterday afternoon.

> **Jack:** I’m sorry, I didn’t realize you would be needing me. I had plans with Anne-Marie.
> 
> **Eric: **_[ with a stiff nod ] _Prior engagement.
> 
> **Jack: **But, in my defense, a typical work day is 9 to 5.
> 
> **Eric:** It was 3PM.
> 
> **Jack:** I put in a lot of overtime already.

Details aside, Eric explains that he wanted to touch base about how they think Valerie’s visit is going. He thinks it’s going rather well, whereas Jack is still firm on his stance that it may be fun but still feels unnecessary. He’s not convinced that she’s not going to cause more trouble than improvement. There’s an odd tension between the two of them because of it, although it’s not clear whether all of the animosity is coming from this specific disagreement.

Eric chooses to avoid it for now, changing the subject. He starts to note that he thinks they should pay some additional attention to Farkle Minkus – he observed some odd behavior in class the other day, and given how things ended last year…

Jack is obviously on the same page, but a phone call startles them both and disrupts the train of thought. Jack asks for just a quick minute and answers the call, Eric holding up his hands in surrender and claiming they’ll discuss it later.

They exchange nods and suddenly the conversation is over, Eric looking a bit dissatisfied as he steps out of the office.

**INT. AAA - AUDITORIUM - DAY**

In this particular case, Jack might be making the right call about Valerie. Trouble begins to brew right after lunch, as Lucas returns to the auditorium to find the rest of the techie crew grouped uncertainly on the stage. When he asks what’s going on and why they’re not at their usual stations, Asher explains that Shawn directed them here. Apparently, Valerie wants to chat with them about their “expectations” for the week.

> **Lucas: **Oh, this better be fucking good…

With Valerie De La Cruz, it’s certainly guaranteed to be a spectacle. She greets them with a flourish as she struts over to join them and the performers filter in behind her, spreading out across the auditorium for individual rehearsal time. Jade timidly asks what they’ll be expected to do during this week of emotional authenticity, to which Val delivers what she clearly believes is a wonderful declaration.

> **Valerie:**_ [ with gusto ]_ Nothing.
> 
> **Dave: **Nothing?
> 
> **Valerie: **Nothing! We won’t be needing your specific services this week.

It’s obvious none of them know how to react to this. Sure, the performers have been flippant about their contributions many a time, but never has the dismissal been so… blatant. Or stated as if it’s the nicest little treat. They’re stunned, they’re confused, Lucas is definitely miffed. Dylan is staring at Valerie with his jaw dropped open, totally lost.

> **Lucas:** I’m sorry, you what?
> 
> **Valerie: **Well, given that this week is all about emotional authenticity, I don’t anticipate we’ll be needing many of your… elements. Well, except perhaps lighting –
> 
> **Jeff: **Oh, thank God.
> 
> **Valerie: **Besides, you all work so hard every single week. Consider this your reprieve, even if only for a short while.
> 
> **Lucas: **So what are we supposed to do instead?
> 
> **Valerie: **Take it easy! Enjoy the performances! _[ Lighting up with excitement ] _In fact, I would love to see the lot of you try your hands at a little performance art. I bet there’s lots of talent brewing in this flock of rare birds!

That sounds like the _last_ thing any of them want to do. Jade blushes preemptively, already mortified. Asher instinctively turns away and half ducks behind Dylan, tucking his head against his shoulder to avoid eye contact.

More than anything, Lucas is _pissed_. He shakes his head wordlessly as Valerie flounces off to rally the rest of the class. Before class can get going again he gathers his things that he just set down, marching back the way he came.

> **Nate:** Don’t wanna enjoy the performances?
> 
> **Lucas:** I’d rather die.
> 
> **Dylan: **Where are you going?
> 
> **Lucas:** Anywhere but here.

Hard to misunderstand that. The group of them watch him go, a bad mojo settling in the air. Asher lifts his head from hiding behind Dylan, exchanging a loaded look with him.

Back at front and center stage, Harper and Valerie are convening to discuss how the rest of the week will unfold. The students are in break-out sessions right now rehearsing, but Valerie is welcome to set up camp in her classroom for one-on-ones. She hands over the roster for sign ups, the starlet taking it with delight. Let the mentoring begin!

**INT. AAA - BLACK BOX THEATER - DAY**

A quick cut montage ensues of Valerie sitting in the black box at a desk, chatting with each of the junior A class in bursts of personality. You know how we love those montages here at _AMBITION_. However, there’s a lot going on in this episode already, so you can fill in the blanks for the most part. Good luck, Valerie!

**INT. AAA - BLACK BOX THEATER - LATER**

The montage wraps up as Riley timidly enters the black box, Valerie enthusiastically greeting her and guiding her over to sit in the desk across from where she’s set up camp. She starts by sharing congratulations again for being bold enough to kick off the week. It’s clear that Riley has a lot of talent, and Valerie is fully supportive of how brightly she can shine – when she puts herself out there and steps up with confidence, that is.

> **Riley: **Yeah, I… _[ a beat, softer ]_ someone has told me that before, actually.

Valerie also commends the efforts she’s putting into quelling the dissent in their class. While she’s impressed by her initiative, she wonders if perhaps there might be some… inconsistencies muddying her overall effectiveness. When Riley asks for clarification, Valerie takes a moment to compose her thoughts before speaking again.

> **Valerie:** I have no doubt that your endeavor to heal your broken class is motivated only by good intentions. But often times, a heroic mission can be… _stilted_, if the words seem to be coming from an untrustworthy source.
> 
> **Riley:** … so, you think I come off untrustworthy?
> 
> **Valerie:** Oh, no! Ha, ha, no, dear, not at all. And I’ve met Justin Bieber, okay, I know untrustworthy when I see it. _ [ a beat ] _I simply mean that… sometimes, what we preach isn’t what we practice, and that can make it more difficult for others to follow our example. You want your classmates to stop holding one another on trial for certain events, from what I understand. Forgive and forget, in a sense._ [ beat ] _I’m only wondering if perhaps there are places in your own life where… this logic has yet to be applied.

Although Valerie doesn’t know much of what she’s talking about, she’s doing a good job of swinging blindly. Riley absorbs this, Valerie going on to state that whatever she might be thinking about, it might be good to do it sooner rather than later – if her fears about her class falling apart again are well founded.

Much to think about…

**INT. AAA - DRESSING ROOM HALL - DAY**

Charlie is heading out of the dressing room when Darby and Sarah catch his attention. They’re definitely giggly, which is already a warning sign.

> **Darby: **Charlie, why didn’t you say anything?
> 
> **Charlie: **… about what?
> 
> **Sarah: **You know… _[ knowingly ] _about your little _crush_?

Charlie immediately tenses up, asking what the hell they’re talking about. But they’re just like hee hee hee, and generally unhelpful. He refutes having a crush on anyone – poorly, since he’s so flustered – which just makes them laugh harder. He rushes out of the dressing room hall, their laughter echoing behind him.

**INT. AAA - COSTUME LOFT - DAY**

Zay is chilling in the costume loft, jotting down some ideas for a performance for the week on his inner arm. He brightens when Charlie shows up, already out of breath as he finishes climbing the step ladder to the loft.

Before Zay can get a word in edgewise, Charlie launches into nervous musings about how people might be onto them. He paces, trying to figure out what could’ve given it away or where he went wrong while Zay just tries to keep up with how fast he’s talking. When he manages to ask what the hell prompted this and Charlie explains the moment with Darby and Sarah, Zay decides he might be reading into it.

> **Zay:** I don’t think they’re talking about the same thing you think they are, Charlie.
> 
> **Charlie:** I mean, do I come off like I’m keeping a secret? Am I twitchy? Do I just radiate some kind of natural secret-y aura?
> 
> **Zay, pointedly:** Don’t think you want me to answer that, babe –

Charlie makes a face, taking a deep breath. When he’s pulled it back together, at least minimally, he states that he and Zay need to tread more cautiously. Clearly he’s not thinking enough, and if he’s not careful it’s going to come back to bite him.

Zay has no idea what that even means. They’re just… existing. What else does he want them to do? Charlie doesn’t know either, and Zay states that _he_ thinks Charlie is thinking too _much_.

In search of ways to alleviate the imaginary problem, Charlie starts brainstorming ways to avoid any possible suspicion that they might be… involved. And lucky for him, there’s already a Broadway tune that can do just that…

* * *

**Song Cue ♫ ♪ “People Will Say We’re In Love” as performed by _Oklahoma_! Original Broadway Cast || Performed by Charlie Gardner & Zay Babineaux**

Continuing their pattern of taking romantic theater classics and making them iconically gay, Charlie takes the lead with the Laurey verses and gives Zay a list of ways for them to prove they’re not in love to the rest of the world. As he sings the line _“Don’t sigh and gaze at me, your sighs are so like mine,”_ Zay realizes he is in fact gazing fondly and shakes it off, switching back into sarcastically amused.

When Charlie warns Zay not to start _“collecting things,”_ and asks for his things back, Zay begrudgingly reaches into his pocket and places one of Charlie’s rosaries into his palm. Charlie uses the opportunity to take his hand, the two of them standing close as he finishes his verse.

Then Zay takes the reins, a little more playful in his delivery and somewhat mocking the intensity of all this secrecy. He jokingly points to the back wall of the costume loft when he claims he _“carved our initials on that tree,”_ Charlie rushing to go check that he’s lying when Zay takes his arm and spins him back around. He taps Charlie’s chin affectionately as he reminds him to take some of his own advice, grinning as Charlie pulls away from him in a huff.

Naturally, Zay is much like Curly in that he personally doesn’t care much if the world knows they’re in love. The line _“Don’t praise my charm too much, don’t look so vain with me”_ is practically custom built for them, Charlie catching his own disdainful expression and turning away from Zay in embarrassment.

While the dancing of the number is really just skirting around one another, it’s a nice change of pace to get to highlight their vocal ability and charm for a spell. Zay ends up back-to-back with Charlie as he gets to the verse how holding his hand feels, both of them obviously gleaning comfort from the touch even though they can’t see each other’s expressions.

As Zay sings the last couple of lines, he gently spins Charlie by the arm so that they’re facing one another again. All of the nervous energy that started the number has fizzled to something softer, the romantic tension palpable as always as they stand inches apart.

Problem solved or not (or problem at all to begin with), it’s clear that _this_ is the most “emotionally authentic” performance Charlie will be giving this week.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Valerie is at her highest pitch of enthusiastic as Isadora comes to join her for a one-on-one. They exchange some niceties, Valerie breaking the ice by commenting how silly it is for the two of them to have a structured meeting. She claims they can just have a real conversation – they haven’t had much time to really catch up yet, as it were.

Isadora agrees that would be nice, but she expresses hesitancy about having an open dialogue. She doesn’t want to say something wrong. But Valerie points out she’s here all week, and nothing she could say will change that nor the excitement she has about getting to spend the upcoming holiday with her. From how earnest she is, Valerie clearly means it.

This means a lot to Isadora, but she isn’t completely sold yet. She offers a timid smile, and Valerie gets the picture that a deeper conversation might have to wait. She smartly shifts gears to the assignment at hand, prompting Isadora to tell her all about what sort of number she might want to pull off this week.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is just in the midst of a phone conversation with one of the secretaries when Harper marches into his office, obviously on a mission. He glances at her, casually telling them to reschedule his 1PM call.

When he asks what he can do for her, she launches into a metered complaint about how Lucas has skipped class once again. This time, in fact, he just walked right out of the auditorium in plain view of the entire class. Jack takes a deep breath and closes his eyes as she continues her diatribe, stating that it’s not only going to impact his education, it’s also being blatantly disrespectful. She’s trying her best to remain calm and even-tempered about it, but the repeated offenses are clearly getting to her.

Jack claims he’ll have another chat with him, but Harper is quickly learning to associate that promise with doing nothing. Jack has had many chats with Lucas since she started at the school three months ago, and his behavior has hardly improved. She questions if he truly isn’t going to do anything about it, to which Jack evenly retorts that he just said he would handle it. Harper almost lets it be…

> **Harper:** … doesn’t it seem a bit odd, though?
> 
> **Jack: **Odd?
> 
> **Harper: **You’re such an authoritarian – which I respect, by the way. Lucas, it seems to me, is someone who seriously needs authority. Yet you don’t seem to be taking a – I’m not attempting to criticize, sir, but don’t you think Lucas could do with a little bit of –
> 
> **Jack: **Lucas Friar is… _[ a beat ] _a special case.
> 
> **Harper:** So is the whole junior class, apparently. I’m only saying that –
> 
> **Jack, firmly: **I’ve got it under control, Harper. That’ll be all, then?

Jack’s shift in tone is subtle, but the message is clear. _Leave it alone. _Harper can identify a warning signal when she sees it, so she nods and apologizes for barging in. Jack thanks her for letting him know, nodding her out.

Still, Harper doesn’t seem convinced, even if she won’t continue to argue it to Jack’s face. She makes her way out without further comment.

Jack goes back to his work, releasing a sigh. His mood is not improved by the notations on more messages he’s gotten from the mysterious Bradfords. He picks up his phone, deciding to make a call and set the record straight.

**EXT. CHUBBIE’S DINER - DAY**

Farkle is making his way down the street, hands stuffed in his pockets and head ducked down from the wind as he shuffles into the diner.

**INT. CHUBBIE’S DINER - DAY**

Farkle pulls his scarf from around his neck and steps up to the counter, requesting a pick-up order for his family. The waitress informs him that it’ll be ready in just a minute, Farkle nodding and waiting restlessly by the counter. He taps his fingers on the countertop, glancing around him at the other patrons eating in good company at the booths and tables.

He’s startled when Katy says his name, gaining his attention. She’s obviously not 100% sure it’s him until he faces her, offering an uncertain smile and asking him how he’s doing. Although Katy is on Maya’s side in all things, it’s clear that she still maintains a friendliness towards Farkle even if her daughter is quite decidedly anti at this point.

Farkle is saved from more small talk by his order being ready. He wishes Katy well and heads over to gather utensils and condiments by the door, Katy looking after him with sympathy and a little bit of concern.

Maya doesn’t even notice him as she breezes through the doors with Valerie and Isadora in tow. She eagerly pulls Katy out from behind the counter and leads the more formal introduction of the single mothers, eyes sparkling with excitement as two of her role models really meet for the first time. Katy is flustered and gives her high compliments, not prepared to meet her again in such a humdrum setting. But Valerie thinks nothing of it, easing the tension with a joke or two about her own waitressing days. Ha ha ha!

As they’re chatting, the subject of Thanksgiving comes up. Maya gets the bright idea that since they’re both working with unconventional family dynamics, they should totally do the holiday together! Especially since she and Isadora are such good friends now.

Isadora enthusiastically agrees, perhaps a little too eagerly for someone who is supposed to be thrilled to be spending time with her starlet mother. Might be easier to stomach a holiday with her actual mother if she’s not facing it alone. Valerie asks Isadora if she’s sure she doesn’t have any other plans that might be conflicting with, and she only hesitates for a moment before confirming it’s all good.

Farkle, of course, hears all of this. It’s a bit surprising to hear Isadora dismiss any other plans so flippantly, considering even he knows about how she and Lucas would usually spend the holiday together because it was so sad and often the subject of performer dressing room gossip the week back from break. He also is doing a weak job of hiding his jealousy, finishing prepping his to-go bag and starting to head out before he hears anything else.

That’s when Valerie notices him, recognizing him from school.

> **Valerie: **Oh, hey! _[ waiting for him to stop and turn ] _Aren’t you from AAA? In the A class with Isadora?
> 
> _[ Awkward. While Valerie is all smiles, Maya and Isadora stare at Farkle as he gawks like a deer in headlights. ]_
> 
> **Farkle: **… yes. Goodbye.

He doesn’t give them the chance to say anything else, pushing out the doors. Valerie raises her eyebrows, giving Katy a playful nudge.

> **Valerie: **Little wiggly, that one, wouldn’t you say? Although, don’t I know the feeling! When I am away from the stage for too long, I’ll tell you, withdrawal _jitters_ –

Maya and Isadora exchange a look, the former shaking her head dismissively and tuning back into the conversation with their moms. Isadora lingers on it a bit longer, glancing back over her shoulder where Farkle left.

**EXT. CHUBBIE’S DINER - NIGHT**

The sun has set by the time Valerie and Isadora head out from Chubbie’s, Valerie asking if she’d like to do something else. Catch a movie, perhaps? Something touristy? A trip to the salon – she’s been contemplating some new looks that she thinks Isadora could totally rock. But Isadora is feeling a bit suffocated, so she claims she really needs to get back.

As they walk in the direction of the subway, Valerie holds up the conversation. She talks brightly about the A class, sharing her thoughts on who she’s chatted with so far and getting Isadora’s thoughts on it. When Farkle comes up, Valerie comments on his perceivable ostracism and how quickly he escaped their greeting.

> **Valerie:** A bit strange, no?
> 
> **Isadora: **Not really. He kind of ruined everybody’s lives at the end of last year, so they’re all pissed at him. Sort of playing the villain… at least he was. No one is really paying him much attention anymore.
> 
> **Valerie:** What exactly did he do?
> 
> **Isadora: **Honestly, it’s not even worth talking about. It was just stupid and… whatever. He got what he deserved, so I guess people are just letting it die out.
> 
> **Valerie:** … is that really all there is to it, though?
> 
> **Isadora:** What do you mean?
> 
> **Valerie:** I just mean… is letting it go really letting it go? Forgetting is a far cry from forgiving, and believe me when I say I know all too well how important forgiveness can be. It’s more so for the other person than the one giving it, but… you know. Take you and me. You’re forgiving me – for much worse than I presume Farkle Minkus could’ve done – and that means all the world to me.

Isadora absorbs the sentiment, not sure how to handle the sudden vulnerability of the conversation despite how willingly Valerie offers it. She goes on to simply state perhaps letting the issue die down isn’t going to do anyone any favors… something to think about, in any case.

The subject slowly drifts to someone Valerie thought she would be interacting with much more…

> **Valerie:** I haven’t seen much of Lucas. _[ a beat ] _You don’t seem to be hanging around with him much, at least.
> 
> **Isadora:** … yeah, well, it’s the focus change. You know, I’m in performing classes now more than I was before. So it’s just… scheduling things. Mostly.
> 
> **Valerie:** Oh, of course. Don’t I know about scheduling conflicts. _[ tentatively ] _But certainly, for best friends, you would find the time –

Isadora ends the conversation preemptively, claiming she can walk the rest of the way to the station from here on her own. She gives Valerie a smile, thanking her for the dinner and assuring her that she’ll see her again bright and early tomorrow.

Lucas is clearly something she’s not keen to discuss at the moment. However, you can practically see the little diva wheels start turning in Valerie’s head…

**INT. LUCAS’S APARTMENT - NIGHT**

Lucas is gearing up to head out somewhere, phone pressed to his ear as he tears from the hall to the entryway. He doesn’t seem to be in the best mood, given the circumstances of the week.

> **Lucas: **What do you mean Asher isn’t coming? _[ a beat ] _No, I mean, it’s whatever, I’m not going to force him to hang out with me. _[ beat ] _No, no, I don’t think it’s that deep, I just – no, I don’t care. I’ll see him tomorrow, it’s not like the end of the world. _[ beat ]_ Whatever, Dyl, I’ll be down in two minutes. Bye.

He hangs up without waiting for a response, huffing as he focuses on jamming on his boots. GRACE FRIAR emerges from the kitchen to catch him before he goes, letting him know that there’s been a change of plans in the family schedule. She warns him that Kenneth is going to be home for the holiday week.

Lucas is obviously stunned by this. His reaction is indignant, although there’s a hint of something that goes just beyond commonplace discomfort.

> **Lucas:** What? He wasn’t – I thought he was gonna be in Texas. Gone for Thanksgiving, here for Christmas.
> 
> **Grace: **That’s what I thought too, but he called this morning from the school to let me know. They shifted around the dates. Here for Thanksgiving, gone for Christmas.

It’s evident neither of them are exactly thrilled. Lucas is suddenly tenser than before, pacing the confines of the entryway and rubbing his eyes. He tries to search for another explanation for his frustration to compartmentalize it.

> **Lucas:** I already made plans. I’m going to Asher’s.
> 
> **Grace: **Oh? What about Isadora?
> 
> **Lucas, bitterly: **She’s got plans of her own.
> 
> **Grace:** _[ after a moment ]_ Well, don’t change your plans. I’m sure the Garcias are going to host a lovely dinner. Just given how… neat Asher is. _[ Lucas scoffs ] _It’ll probably be good for you to be there. Better than here.

The resulting silence speaks volumes. Lucas looks at his mother, uncertain.

> **Lucas: **I can ask Asher if you could come –
> 
> **Grace: **Oh, no. No, don’t worry about that. _[ Crossing her arms ] _Besides… someone has to share the holiday with your father.

The statement is nice, but the sweetness that goes with it isn’t genuine. It’s not a privilege, it’s likely a punishment, and they both know it.

Grace waves him off and tells him to go have fun, disappearing back into the apartment. Lucas looks after her, suddenly heavier with the weight of the conversation. With the knowledge that there’s nothing he can do about… well, anything, really.

He grabs his denim jacket off the rack, storming out the door in a flurry. Just as his apartment door swings closed –

**INT. BLUE’S APARTMENT - NIGHT**

Another opens, finding Isadora standing just outside. Rather than going home, she’s found herself outside the apartment of BLUE NGUYEN. Given that it’s been a hot minute since last season, it’s nice to see him again! He gives Isadora a light hug before gesturing her inside.

Isadora apologizes for texting so unexpectedly, but he reassures her it’s no biggie. He knows how sometimes going back to the Van Herschings is far from a sweet escape. She reiterates that point, before he prompts her to talk about what is really stressing her out – the incomparable Valerie De La Cruz.

True enough. Isadora explains that she’s glad she’s here, and it’s clear she’s making a real effort to connect with her which she appreciates. But it’s just a lot to adjust to all at once, hence why she’s glad she’ll have the buffer of the Harts there for Thanksgiving dinner. She feels ungrateful too, since this should be exactly what she wants.

Blue points out that being a foster kid, relationships with your biological parents are guaranteed to be complicated. It’s never going to be a simple dynamic, and while Isadora should feel happy Valerie is there, she is allowed to feel confused and reluctant and even bitter too. Whatever she feels about it all, that’s valid, and she shouldn’t try to shut those feelings down because of what she “owes” anyone else.

It’s a relief to hear someone say it, even if Isadora logically knew it to be true. She thanks Blue, stating that it kind of feels like she can’t really talk to anyone else about this (Valerie, Maya, least of all Lucas…).

> **Blue: **Any time. You know that. But are you sure you can’t talk to Maya about it? Seems like she’d know a thing or two about mixed up parents.
> 
> **Isadora: **Yeah, but… you have _no_ idea how much she admires my mom.

Yeah, such a level of starstruck is difficult to encapsulate. And we’re about to get a full dose of it… as the bouncy bass line floats in…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Valerie” as performed by Glee Cast || Performed by Maya Hart**

Maya delivers a banging rendition of the song, clearly not afraid of pulling some direct punches to get across how much she idolizes their current guest lecturer. It’s cheeky fun in some ways, a little too much in others – not to mention a sort of weird song choice that her classmates definitely don’t miss.

> **Dave, whispering:** Isn’t this song about like… trying to _get with_ Valerie?
> 
> **Dylan: **Shhhh.

Weirdness aside, it’s an undeniably well-crafted performance. Maya sells it with gusto, and her vocals and dancing are as impressive as ever. Valerie certainly seems charmed, if nothing else.

* * *

**INT. AAA - ERIC’S OFFICE - DAY**

Coming off of that interesting performance, Eric is checking in with Isadora to see how she’s handling the presence of her mom at school. The effort definitely means something to Isadora, considering how she was just expressing to Blue that she felt like there was no one she could talk to about the whole thing.

Although it’s not going badly all in all, suffice to say there are… awkward elements to it.

> **Isadora:** Is there a good way to explain to your friend that she just sang a song that implies she wants to score with your mother?

Eric laughs, admitting that might be a tricky one. She goes on to say similar things to what she told Blue, lamenting the fact that while she’s glad Valerie is here, she feels as though there aren’t many people to talk to about how she feels. Eric reiterates his availability, but gently questions her perspective on it.

> **Eric: **There’s… no hope with Lucas, you think?
> 
> **Isadora: **God, no way. He already hates her, and anything I say is only going to piss him off. Which I don’t want, even if it’s on my behalf. Not to mention he’s already so all over the place right now, skipping class and being careless, and then there’s the thing with the vandalism –
> 
> **Eric: **Wait, what? What are you talking about?

Isadora hesitates. Does he not know? Lucas was the one who vandalized the set piece during_ Into the Woods_. Was she not supposed to say that? Eric is obviously shocked to learn this.

> **Isadora: **… I told Principal Hunter about it. I assumed you guys just took care of it. Was I not supposed to…?
> 
> **Eric:**_ [ collecting himself ]_ No, no. It’s fine, you’re completely fine. It’s just… Jack told me…

A lie, apparently. He told him he couldn’t figure out who did it, but now Isadora is saying otherwise. Being hard to reach is one thing, but outright keeping him out of the loop…

**INT. AAA - BLACK BOX THEATER - DAY**

The techies are congregated in the black box, an unfamiliar grouping place for them. But they’re not “needed” in the auditorium, so goofing off in the only place not riddled with starstruck performers is the move. Nate, Dylan, and Jeff are playing cards. Jade is doing hem work on a costume piece, Asher being her model and standing carefully on a desktop while she circles him and does her thing.

Lucas is at the whiteboard, erasing the notes Harper has written and haphazardly replacing it with his own nonsense. He continues to do so as the other techies get into making fun of Maya’s performance, discussing how weird it was. Jeff points out that Maya probably wasn’t thinking about it all that literally, but Asher counterpoints with the fact that that certainly doesn’t keep the rest of them from thinking about it.

> **Nate: **It’s just such a kiss ass move. If she really wanted to win over Valerie, she probably already did it by getting in Isa’s good graces.
> 
> **Jade: **Suppose she hardly needs the song to boost her after that.

Although he doesn’t contribute to the conversation, Lucas clearly absorbs the notion about Maya using Isadora to get to Valerie. It’s nothing he hasn’t already thought about, but hearing someone else point it out sure does make the possibility seem uglier…

As if summoned, who should float into the room and disrupt their relative peace than Valerie herself. She gives all of them her usual level of charisma, asking if they’ll pardon her intrusion and how wonderful it is to see all of them enjoying their time en repose. Jade removes the needle from between her lips, hiding it behind her back.

Dave asks if there’s something they’re needed for, which Valerie waves off. She assures them that the performers are all hard at work rehearsing or debriefing, so she thought she’d take the quick reprieve of her own to stop by. In fact, she was hoping to have a spot of conversation with Lucas James.

The other techies hesitate, before immediately making excuses to get out of there. Nate pats Lucas on the shoulder as he goes. Dylan helps Asher down from the desktop, the two of them tossing a look of solidarity towards Lucas before they make their escape with Jade. It’s not long before it’s only Valerie and Lucas left in the space, the vast distance between them much more prominent than before.

Lucas clears his throat, turning back to the whiteboard and continuing his shenanigans. Valerie doesn’t seem perturbed, as she came into this meeting knowing full well it wouldn’t be easy. She keeps her smile intact, sauntering further into the room.

> **Valerie:** I was wondering when we’d finally get the chance to chat. Must admit I’ve been looking forward to it._ [ a beat ]_ I couldn’t help but notice you neglected to sign up for a one-on-one slot.
> 
> **Lucas, deadpan: **Oh, did I? My mistake.

Valerie doesn’t let the shortness deter her. She elaborates, stating that she knows what an impact he has on Isadora’s life. A true friend, certainly, and as her mother she could only hope she would have such true friends. It’s all nice chatter, but Lucas looks unimpressed as he uncaps all the markers on the whiteboard to let them dry out.

Stiffness, she can handle, but being rejected attention entirely is a tough pill to swallow for a woman who has only ever known the spotlight. She doesn’t take the hint to leave him alone and continues to fill the silence, explaining how nice it’s been to spend time with Isadora and see all the growth she’s exhibiting. It makes her happy, and really proud. It’s been spectacular, seeing her daughter make so many strides.

This gets a snort out of Lucas. Valerie pauses, asking if something she said was particularly humorous. She wasn’t going for comedic in that moment.

> **Lucas: **I just find it funny. You know, that you’re acting like Isadora is so important to you when you only decided to show up six months ago.

Blunt and to the point. Valerie gently corrects him on exactly how many months it’s been since _Les Mis_, but Lucas clearly doesn’t care about that. His point has been made. And he has better things to do than talk with a Hollywood puppet, so he is going to have to cut their chat short.

Valerie searches for something to make him stay while he gathers his things, already heading towards the door.

> **Valerie:** I know that adolescence can be a difficult time for young men. So I will begrudge you the harsh words. I’m not one for holding grudges, personally. Surely my feud with Sofia Vergara that was famously put to rest with my generosity and quick thinking is a credit to that.
> 
> **Lucas, flatly: **By all means, grudge away.
> 
> **Valerie:** But I think you could return the same courtesy in granting me my truth. I know it might be hard to believe with your biases, but I care about Isadora. She’s my daughter, and… and I love her dearly.

This manages to stop Lucas in his tracks. He hangs in the doorway, debating whether or not to say anything. His logical brain knows he should just walk away, but his temper…

> **Lucas: **What are her favorite shoes?
> 
> **Valerie: **…. beg pardon?

Lucas whips around, locking eyes with her. She’s successfully kept him from slipping away, but perhaps that isn’t such a good thing.

> **Lucas: **Dora’s shoes. What’s her favorite pair?
> 
> **Valerie:** I – I apologize, but I don’t exactly see how a pair of shoes is relevant –
> 
> **Lucas:** They’re black converse. She’s had them since seventh grade. They don’t even really fit anymore and they’re falling apart, and she’s doodled all over the soles. But she can’t get rid of them, because they’re basically a part of her. But okay, strike one. How about her favorite color? No parent really knows their kid’s favorite color, but since you don’t know anything else maybe you’ll at least randomly know that.
> 
> **Valerie:** I… again, I –
> 
> **Lucas:** Not even a guess?
> 
> **Valerie:** … green!
> 
> **Lucas:** It’s red. Strike two. How about her favorite movie? You’ve talked about movies, right? Or what about dream vacation? What kind of food makes her nauseous? What do you do if you’re in an overwhelming social situation and she starts to shut down? What would you do, Miss De La Cruz, if you were there?

Valerie is stunned. She’s suddenly in an overwhelming social situation, and she has no idea how to respond. She shakes her head, stammering over her words.

> **Lucas: **Strike three. You’re out.
> 
> **Valerie: **That’s not fair. You may be right about certain things, but… we’re making reparations. We’re trying now, and that’s just as good. And if I were there –
> 
> **Lucas: **But you _weren’t_. You weren’t, so you don’t know shit about anything.
> 
> **Valerie:** Now, Lucas James, I won’t be –
> 
> **Lucas: **No, _don’t_ talk down to me like you know better. Don’t speak at me like you know me. Because you don’t. You don’t know me, because you don’t know her! Suddenly showing up now doesn’t erase that. You weren’t there when she got into Adams, or when she pulled off her first stage managing gig. Or how about when the secret of your mere _existence_ blew up and Dora had to be talked down in the bathroom, huh?
> 
> **Valerie:** … I –
> 
> **Lucas, fiercely: **You weren’t there, but_ I_ was! So don’t talk to me about caring about Dora!

… whew. That’s a lot of emotion to absorb. Valerie dips her head, all of her bravado peeled away and a shaky version of her left in its place. She searches for something to say, but nothing comes out. The streetsmart starlet with a motormouth has nothing to say.

Lucas steps back a bit, collecting himself. He never intended to get so heated, let alone in front of one of his least favorite people – not when he was doing so well at pushing it all away. He shakes his head, letting out a scoff of a laugh.

> **Lucas: **But it’s fine. It doesn’t matter. Isadora’s following in your footsteps now, and… _[ swallowing ]_ barely needs me anymore. So I guess it’s the perfect time for you to swoop back in and play the perfect idol mother. Role of a lifetime.

Valerie tentatively locks eyes with him, but he can’t look at her anymore.

> **Lucas, derisively: **Break a leg.

He storms out, leaving her alone. Valerie takes a deep breath, pressing her hands over her mouth and closing her eyes. Forcing herself to be zen – which it seems she’s done many times before. But her hands are still shaking, even as she plasters on a well-rehearsed smile.

As any actress worth her salt knows, the show must go on…

**INT. AAA - SCRIPT LIBRARY - DAY**

Farkle is tucked away in the script library, continuing to sort through the masses. It looks like he’s made decent progress in the time he’s been working through his punishment, but he’s listless as he alphabetizes the only shelf he’s gotten into actual shape.

He’s startled out of his funk by voices just outside the script library, causing him to jump when they pass by.

> **Dylan: **He was really upset that you weren’t there.

Farkle frowns, recognizing Dylan’s voice but not having any clue what he could be talking about. He moves back towards the door and leans against it, eavesdropping.

**INT. AAA - HALLWAY - DAY**

Asher and Dylan have stopped just outside the script library, hanging back for a moment rather than continuing towards the auditorium. Asher crosses his arms.

> **Asher: **Oh, did he say that?
> 
> **Dylan: **Well, no, obviously not. I think we both know that the day Lucas actually says what he’s feeling his head is going to explode._ [ off Asher’s expression ] _But you know how he is, you can tell when he’s not acting like himself –
> 
> **Asher: **Kinda feels like every day.

Oh. It’s clear Asher didn’t mean to say that, and Farkle’s expression from listening behind the door proves exactly why. Lucas, Dylan, and Asher come across as such an iron-clad united front, so any inkling of dissent from either of them seems like groundbreaking news.

Dylan states that he understands why Asher didn’t go last night, the two of them having talked about how overwhelming his shenanigans have gotten for Asher after all. But Lucas evidently has no idea, and maybe choosing not to say anything about it is doing more harm than good.

> **Asher: **And what am I supposed to say, Dylan? That he’s being ridiculous? That I think he’s being stupid and making things worse for himself, not to mention that you and I almost got in trouble for it during _Into the Woods_.
> 
> _[ Dylan makes a face and nods, acknowledging the point. ]_
> 
> **Asher: **He’s being so _boneheaded_ about Isa, and I can’t even get started on Riley –
> 
> **Dylan:** She’s still being nice to him.
> 
> **Asher: **Yeah, duh, because she likes him.

Another interesting tidbit. Farkle is certainly learning a lot while being certifiably invisible.

> **Asher: **And I get why he’s being so… whatever about that, he’s got his thing about humiliation – but is that supposed to last forever? Is Riley supposed to just take whatever and continue to be kind and forgiving until he decides to come around? Which he might never do? I don’t see how she could fathom doing that when I’ve been one of his best friends for two years and I feel like I’m losing my –

Asher cuts himself off, thwarting a potential anxiety attack before it starts. Dylan watches him breathe himself down, obviously wanting to help but having no great ideas about how to fix the situation either.

> **Dylan:** I mean… do you think maybe you and Lucas aren’t…
> 
> **Asher, quickly: **No. No, of course I’m not saying that. I just –

He shrugs, letting out an exhale. He doesn’t know what he’s saying or thinking. Dylan searches for a way to turn things around, rubbing Asher’s shoulders comfortingly.

> **Dylan: **Things always get weirder around the holidays. We know that. But we’ll have a great time on Thanksgiving with Lucas. And no one will set anything on fire, and everything will be okay. It always is eventually.

Whether or not he’s right, the earnest delivery Dylan has is impossible not to believe. Asher lets out another deep breath, managing a smile and a nod. Better, for now. Dylan slides his hands down to take his, giving him a quick kiss on the cheek before leading the way back down the hall.

Farkle leans against the door, thoughtful. So much information he’s absorbed in the last few days, it’s like he knows his classmates better than he has in the last three years.

Yet, he’s still alone. He lets out a sigh and goes back to organizing.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is currently focused on exactly that, going over notes on Farkle’s behavior from Harper and Eric and gearing up to set a meeting with him. But before he can make any definitive moves, who should march in a huff?

> **Eric:** So were you just never going to tell me?

Jack blinks, holding up a hand in surrender.

> **Jack:** Sorry, I just… I didn’t realize we had jumped back in time. When was the last time you stormed into my office like this, Eric? Early sophomore year?

The playful tone quickly evaporates when it’s clear Eric is not being theatrical. He’s genuinely upset, wondering why Jack decided not to tell him about Lucas being the vandal. As far as he was aware, they were tackling things as a team. As far as _he_ was aware, that meant keeping one another in the loop and not withholding information that they deem the other unable to handle. Are they just not telling each other anything anymore? Is that what it’s come to?

Jack goes on the defensive, attempting to maintain his calm as he claims he made a call in the moment that felt right. But Eric calls bullshit, considering how pro-poetic justice he was acting for their entire investigation. _Did_ Lucas end up getting that swift punishment? Or did he make a “call in the moment” about that too?

The situation escalates, the disagreement over communication quickly devolving into the other frustrations they have with one another but have been stifling for quite some time. Jack harps on how Eric has always acted like he just _knows_ better than him, even though Jack was here before he was and has worked his ass off for years to keep AAA afloat. Eric fires back that he feels Jack is allowing his focus to be split, leaving work whenever and prioritizing his own personal fancies over who needs it most – the students.

Jack is deeply offended by the insinuation, retorting that it’s not his fault Eric has no semblance of a work-life balance. It’s not his fault that Jack has a life outside the school, and that doesn’t make him any less serious about the school and the students in their care than Eric. It’s _bullshit_, and Eric knows it. The only reason he continues to dismiss him is because he’s not an “artist,” and so he’s never going to be good enough for him.

It’s a nasty argument, and shots are fired on both sides that they can’t take back. But the comment about having a life outside of work is a deep cut for Eric, enough to stop him cold and run out of things to say back. In terms of how Jack will never be good enough for him…

> **Eric:** _[ in a murmur ] _Is that really what you think I think?

Jack shrugs, crossing his arms. Is he wrong? Eric thinks so, but then, he doesn’t have the words to explain the opposite. At present, he can hardly look at him without a lot of emotion he’s not prepared to deal with bubbling over.

Well, that’s that then. As Eric is heading out, he doubles back and states he doesn’t think he’ll be joining the Hunters for Thanksgiving anymore. He supposes he should be with his brother and niece, as they actually need him right now. After all…

> **Eric: **I know where my priorities lie.

He flurries out without waiting for a response. Jack watches him go, obviously wounded by the confrontation and all worked up. He loosens his tie and attempts to pull himself back together, startled when one of the secretaries pokes her head in and explains that the Bradfords are on the line… again.

Jack has had about enough of this. He straightens up, expression growing determined as he tells her to put them through. He’s going to put an end to this irritation once and for all.

**INT. AAA - PRACTICE ROOM - DAY**

Farkle is alone at the piano, playing a few notes of a song but clearly not all that into it. He’s surprised when Valerie stumbles into the room, looking for a place to escape for a moment after her confrontation with Lucas. She’s not shaking it off as easily as she’s used to. She starts digging through her bag, obviously looking for something in particular.

Even more surprising, she actually seems to notice him. When she locks eyes with him she startles, letting out an airy laugh and apologizing for intruding. Farkle shrugs it off, claiming she’s not the first. Completely changing pace, Valerie saunters further into the space and pulls him into a conversation – the first to do so all episode. She asks him what he’s planning on doing for Thanksgiving.

> **Farkle: **Nothing. My family doesn’t really celebrate.
> 
> **Valerie: **Oh? Is Thanksgiving not a Jewish-approved holiday?
> 
> **Farkle: **Well, it’s kind of a dumb holiday to begin with that has its roots in colonization and the eradication and displacement of indigenous peoples, so you’d think less people would celebrate… but no. Nothing like that._ [ playing a few notes ] _Family is just busy this time of year, that’s all. We put a lot more stake into the December gatherings, I suppose.
> 
> **Valerie:** Oh… yes. Of course.

Valerie notes that the two of them have yet to have their one-on-one, which is a shame considering he seems like someone greatly worth talking to. Farkle scoffs, stating she’s the only one who thinks that… but also it’s whatever. He doesn’t have much to say. Given that he just gave a mini-diatribe about Thanksgiving unprompted she highly doubts that’s true, and instead prompts him on another subject that she thinks might set him off. Or at least, get him talking… then maybe the rest will follow.

So she asks him about music.

* * *

**Song Cue ♫ ♪ “I Miss the Music” as performed by _Curtains_ Original Broadway Cast || Performed by Farkle Minkus (starting at 00:15)**

Valerie takes on the role of prompting Farkle to discuss the creation of a song, which then launches him into singing about his feelings much in the same way it unfolds in the original. He expresses wanting to avoid talking about feelings and yet ends up doing just that – only in this case, it’s ex-friends rather than an ex-wife that he’s aching for.

Still, the message of the piece is clear. Farkle lost his team and so he lost his voice, and he has no idea how to get it back the way it was before. It’s the most vulnerable Farkle has been about the situation since it all went to hell, and in front of an unlikely party at that. Valerie doesn’t intrude much on the expression, sort of fading into the background.

At the 3:50 mark when the song is interrupted, it’s Maya accidentally stepping in and claiming she forgot her songbook. It is their usual studio, after all. Although Farkle says something snarky at first, before Maya heads out he tries again and congratulates her for a great performance. She accepts it, hesitantly, another small moment of warmth much like during_ Into the Woods_ that neither of them know what to do with now.

Then she leaves him again, pushing him into the final swell of the song. Just because no one is giving him the time of day, and he’s basically invisible, it doesn’t mean all of those emotions are invisible too.

* * *

As the song concludes, Valerie startles Farkle by applauding and immediately commending his abilities – vocally and instrumentally. She also highlights how much raw emotion he’s able to translate into a performance, which he sort of shrugs off considering emotion has never been his strong suit.

Valerie leans against the piano, attempting to contextualize whatever happened last year that people keep talking about at length. Farkle isn’t interested in discussing it, but it’s clear he’d like to be able to actually move on from it. So Valerie gets her thinking cap on and gives him… well, it’s well-meant advice, that’s for sure, but as for whether it’s _good_…

> **Valerie:** You know, I’ve had my fair share of scandal in the industry. Everyone does, if you hang around long enough. And you know what I’ve always found to be the quickest fix for a story that just won’t let you live?
> 
> **Farkle, flatly:** Expensive cover-up?
> 
> **Valerie:** _[ with a laugh ] _No, no. Only in grave emergencies. No, generally, I’ve always found that a _new_ scandal always swiftly pushes out the old. Once people have latched onto the next thing, you’d be amazed how easily they forget the previous one.

This seems to inspire something in Farkle. He nods, thanking Valerie for the advice as well as the conversation. She brightens, absorbing the head-turn she managed after the horrible confrontation with Lucas.

As she flutters off, pleased with her work, Farkle goes back to the piano and ruminates on her advice. A new scandal… he plays a couple of discordant keys…

**INT. JACK’S APARTMENT - DINING AREA - NIGHT**

Jack is having dinner with ANNE MARIE WINTHROP, the latter in the midst of giving him a well-needed pep talk after the day he endured. While it’s evident that the dynamic that they have is good and solid, it’s worth noting that their mindsets are incredibly similar. Both authoritarian, both more logical thinkers rather than emotional. Not a lot of challenging their ways of thinking.

Anne Marie backs him up in his decisions that Eric criticized him for, pointing out that him blowing up demonstrates exactly why Jack kept the identity of the vandal under wraps. She thinks Eric is an incredibly thoughtful, sweet man from the times she’s met him, but being able to keep emotions in check is a pretty pivotal skill to have in an administrative role.

> **Anne Marie:** Certainly wouldn’t fancy him a principal, you know?

She also backs his defense about having a work-life balance. He shouldn’t feel bad for separating his personal life from school, and getting more tangled up in the emotional in and outs wouldn’t help him be an effective leader anyway. No, she thinks he’s doing the right thing, and assures him as such with a comforting touch of the hand and logical reasoning.

Still, Jack doesn’t seem entirely placated. And when she points out that she’s positive he handled the behavioral issue with perfectly rational thought, he takes a long sip of his drink rather than choosing to comment. Interesting, how Jack can talk about most things work related with Anne Marie except for that one very special case…

**INT. CHUBBIE’S DINER - NIGHT**

Valerie steps into the diner, scanning the counter until she finds Katy cleaning up a spot a few seats down. She cheerfully greets the waitress, evidently surprising her with her presence.

> **Katy:** I didn’t realize – is there something I can do for you?
> 
> **Valerie: **Oh, just a little of your precious time would be lovely. Oh, and a slice of that peach cobbler? I will tell you, ever since we had some of that treasure the other night I have not been able to stop thinking about it. Like pure addiction, that is!

Katy laughs, obliging and bringing her a slice. She continues to clean the counter and wipe down other dishes as Valerie chats with her, enjoying the company of another woman her age that isn’t immured in the same celebrity sphere that she is.

Valerie states that Maya is an incredibly talented young woman, which Katy proudly echoes. When Valerie states it isn’t a wonder where she must’ve gotten it from, Katy sort of waves the compliment off. She then settles into something a little more somber, expressing gratitude towards Valerie for being so willing to humor them and spend time with Maya. It means the world to her, she knows, and it’ll really make the holiday special this year.

> **Katy: **Given how things have been going lately, um… it’ll just be real nice to have an extra special Thanksgiving. One we’ll really remember.

Valerie claims she’s hardly worth such high praise, but she’s more than happy to oblige. Sensing some of the stress surrounding it, she also offers to handle all of the food and beverages for Thanksgiving. If Katy can provide the place, she’ll handle everything else. Katy is stunned and tries to argue, but Valerie won’t hear it.

> **Valerie: **Please, not even a dent in my pocket. You just bring one of these _fantastic_ peach cobblers, and I will arrange the rest.

An incredibly kind gesture. Valerie waits a moment before going on to express her admiration for Katy, how she raised Maya all on her own and is working so hard to give her all these opportunities. She could never do it – in fact, she didn’t, and now she’s paying for it. She only wishes she could connect with her daughter as seamlessly as she does, and she has so much courage for doing what she couldn’t.

Katy bashfully accepts the compliment, stating that when it comes to Isadora, better late than never. In terms of how she manages to communicate so effectively, Katy gives one piece of advice that stands truer than anything else. Something that, perhaps, _everyone_ could consider utilizing a bit more right now…

> **Katy: **When it comes to nurturing that relationship, for how subtly and swiftly it changes as she grows up… I just think the most important thing I can do is _listen_. I can be there for her, and listening is always the first step.

Food for thought. Valerie is thoughtful, considering this as the opening tones of Isadora’s performance for the week float in…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Don’t Watch Me Cry” as performed by Jorja Smith || Performed by Isadora De La Cruz**

Valerie’s expression is still thoughtful in the darkened auditorium, seated amongst the A class as Isadora gives her rendition of this hauntingly beautiful ode to being left behind. It’s a simple arrangement, Isadora silhouetted on the stage with a single spotlight highlighting her in some places but casting her in shadow in others. It’s the most she’s addressed the impact of Valerie in _front_ of Valerie before, making for a shaky but quite emotionally authentic performance.

* * *

In fact, it might be too much for the preacher of authenticity herself. As the performance reaches its conclusion Valerie rises from her seat, overcome with emotion. Isadora sees her rush out, not hesitating to leave the stage and jog down the steps into the house after her.

The class watches them exit, definitely getting a taste of what a truly emotionally authentic moment feels like.

**INT. AAA - HALLWAY - DAY**

Isadora catches up to Valerie in the atrium, wondering why she left like that. Valerie is in tears, trying to wipe at her eyes and pull it back together with minimal luck. She didn’t mean to upset her, she was just doing her best to be “emotionally authentic” or whatever –

> **Valerie:** Isadora, I am so, so sorry.

Valerie goes on to express how horrible she feels for all she put her through. Unintentionally or not, she had no idea how much her absence must’ve hurt her – well, she had an idea, but not a true understanding of it. She knows she could never make up for that, as much as she now has decided she wants to. She is so deeply, _deeply_ sorry.

It’s the first real apology Isadora has ever gotten from her mother. It’s the first real _emotion_ she’s ever gotten from her even, and perhaps there’s a truth to emotional authenticity, because it’s more effective than any overt enthusiasm or compliment Valerie has ever given her. Suddenly, for the first time, Isadora actually feels _connected_ to her biological mother.

She gently assures Valerie that it’s okay, and that she’s glad she finally heard her. Isadora means it when she claims she wants to try and have an actual relationship with her, but admittedly it’s not going to be easy. Valerie has done things in the past that make it hard to trust her, and so it’s going to take time. But if she’s okay with that, then Isadora is willing to put in the work if she is.

Valerie is somewhat placated by this, wiping her eyes again and nodding eagerly. She lets out a teary laugh and expresses embarrassment at how much of a puddle she’s become, before asking Isadora if it would be okay to hug her.

For once, Isadora allows it. It’s their first embrace as mother and daughter, whatever exactly that might come to mean for the both of them.

It’s more than evident, however, that it means a lot to them both.

**INT. AAA - HALLWAY - DAY**

Charlie is at his locker, scared out of his wits when he closes the door and Maya is standing there grinning at him. He yells, fumbling back a bit.

> **Charlie: **OH MY… ah. Maya.

She gives him a winning smile, claiming that she just wanted to chat with him about the little “crush” she’s heard going around about him. His eyes widen, but before he can get a word in edgewise Maya is off on a tangent.

> **Maya: **I’m flattered, truly, and to be honest you do have potential. You’re cute enough, and can keep up with me physically – as a dancer, that is, the only physical activity that matters – but I’m simply not interested in weighing down my star with a relationship right now. Or, ever, really.

Charlie is totally bewildered, barely keeping up with her explanation. Finally, it hits him.

> **Charlie: **You think – you think I like _you_.
> 
> **Maya: **Can’t fault you that. I hope you understand. I mean, not my problem if you don’t, but I’m wishing you the best either way.

She blows him a couple of kisses, patting his cheek and turning on her heel to walk away. Charlie stares after her, blinking and letting out a strained exhale. So _that’s_ the crush people have been talking about this whole time.

He leans back against his locker, finally getting to relax for the first time all week.

Meanwhile, Farkle is making moves, chasing after Lucas as he attempts to break ground on launching a new scandal. Although Lucas has exactly zero interest in interacting with Farkle, he is refusing to let the issue drop as he’s the perfect catalyst for stirring up something new. That’s the price they pay, being the most unbearable people in the junior A class.

> **Lucas: **And why on God’s green Earth and the forsaken halls of Triple A would I be at _all_ interested in speaking to you anymore than I am legally obligated?
> 
> **Farkle, confidently: **Because I know something that you’ll want to know.

That’s enough to at least get his attention. Lucas pauses, turning to face him and give him a second of his time.

From the expression on his face, we can tell whatever Farkle is going to say isn’t going to be good. What piece of information is he going to choose as the match to set off this firecracker…

**INT. AAA - AUDITORIUM - DAY**

Class is reassembling on the stage when the fuse finally blows, Lucas storming through the wings and disrupting the chatter. He’s awfully worked up for someone who doesn’t care about anything because nothing matters.

> **Lucas: **When were you planning on telling me?

For a second, we hang on each of our potential scandal victims. Charlie jumps, spooked by the sudden volume. Asher and Dylan stare at their best friend, looking like deer in headlights. Riley spins from where she’s speaking to Zay, eyes wide.

But focus lands on Isadora, in the midst of chatting with Maya and surprised that Lucas is approaching her like this. It’s obvious she has no clue what he’s so vexed about.

> **Isadora: **Telling you what?
> 
> **Lucas:** About your little Thanksgiving plans? I mean, I figured you’d be spending it with your mom considering she deemed to be in your life for five seconds, but really, Maya too? Isn’t that just the picture of best friendship?

Isadora is stunned. Although she wasn’t intentionally keeping it a secret from him, she wasn’t ever planning on telling him about it either. Maya steps up and tells him to back off lest he get his toxic masculinity all over them. Farkle saunters up onto some of the half-built set pieces and gets comfortable, watching the scene unfold from above with a neutral expression.

Maya speaking may not be the best strategy, because it’s all too easy for Lucas to turn on her. He points out how transparent she is, obviously only using Isadora to get a chance to grovel more at the feet of her favorite spastic diva idol. The insinuation is like a slap to the face, not only to Maya but to Isadora. She knows Maya loves Valerie as an artist, but the simple conclusion so many people seemed to have drawn honestly didn’t occur to her.

Maya glances at her, shaking her head frantically and immediately trying to assure her that it isn’t true. But Lucas is there to easily refute it, and soon enough it’s just a shouting match between Friar and Hart that everyone else is too stunned or entertained by to interrupt.

That is, except for Harper Burgess. She enters with Eric just in time to catch the worst of it, having officially reached her patience threshold for one special lead technician. And if no one, even Jack, is going to do something about his terrible attitude, then she certainly will. She steps into the fray and chastises Maya for feeding into the drama before turning to Lucas, asking if this is really the time or place for such harsh accusations.

> **Lucas: **Well this doesn’t really concern you, so –
> 
> **Harper:** I wasn’t. Done. Speaking.

All of the oxygen is zapped out of the room. No one is breathing. Lucas is caught off-guard by being talked back to enough to go speechless, giving Harper the full power to take to the soapbox and completely take him down. She laments his absolutely abhorrent attitude, criticizes his lack of respect, all in front of the rest of the class who are all reacting in varying states of shock. Farkle has gone pale, blank-faced as he watches his plan crash and burn more horrifically than he could’ve ever anticipated.

> **Harper: **Do you want to know what I think, Mister Friar? I think that you’re scared. I don’t know why, and I don’t know where you got the idea that terrorizing everyone else would fix it. But let the record show that you are _not_ in control here. From here on out, you will show your faculty their due respect. You _will_ attend class, and you will participate, and you will do it without a snide remark or unwelcome comment. You will be, as you should have been this whole time, a student amongst the rest of your peers and if you feel you deserve differently, then I believe you’re well aware of the exits to this auditorium.

It’s a complete decimation. It’s humiliation in the most concentrated form it could be administered – perhaps not unwarranted, but _definitely_ not the most effective treatment in this case. The techies are dumbstruck, looking at their de facto leader in concern. Isadora is mortified. Eric seems to realize that perhaps Jack was right about how to handle Lucas. 

The whole class has their eyes on Lucas, waiting to see what he’ll do next, but he’s frozen. He can’t move. He can’t speak. It’s unlike anything they’ve ever seen from him.

As if she’s been gifted with the worst timing on Earth, Valerie enters right then, cheerful and unaware as she greets them all again. But she can sense the tension quickly enough.

> **Valerie, innocently: **What did I miss?

Then Lucas is gone, marching off the stage and out of the spotlight. It turns into a run when he hits the dressing room hall, disappearing through the doors.

The rest of the class devolves into mild chaos, reacting to what they just witnessed or trying to do damage control. Riley takes off before anyone can notice, running into the wings and through the dressing room hall after Lucas. Maya turns to Isadora, frantically trying to assure her that what Lucas said wasn’t true. She has to know it wasn’t true. Doesn’t she?

Valerie realizes whatever happened can’t have been good, mostly due to the look on Isadora’s face. She tries to approach her and help console her, but Isadora backs away. She backs away from everyone, making a dash for the other exit.

Farkle doesn’t look lofty anymore from his perch above everyone else. He looks disturbed, and Maya catches sight of him so high above. She narrows her eyes, contemplating…

**EXT. AAA - DAY**

Isadora escapes onto the front steps, gulping down the fresh air and trying to keep her emotions in check. She collapses into sitting on the steps, digging for her phone and frantically dialing a number. They answer quickly enough, providing a much needed outlet.

> **Isadora: **Blue? I – everything just happened so fast. I don’t know –_ [ cracking ]_ I don’t know what to do. I don’t know –

**EXT. AAA - LUNCH COURTYARD - DAY**

Riley passes by in the hall outside the courtyard, struck with realization and doubling back to step into the courtyard. Her memory serves her well, allowing her to find Lucas from experience where few other people might think to check.

He’s curled up on the bench closest to the back corner, most effectively out of sight. He’s got his knees pulled up onto the bench and is hiding his head in his hands, looking smaller than Riley has even seen before. She isn’t sure what to do, whether she should approach and try to say something or if being acknowledged would make everything worse.

But she can’t just leave him there. She tentatively approaches the table, staying on the opposite side of it but making her presence known by softly saying his name. He doesn’t look at her, but he regains his composure a bit and clears his throat.

> **Lucas: **What are you doing?
> 
> **Riley:** … I just wanted to make sure you were okay.

That’s a new one. Lucas doesn’t know how to respond, especially in such a deconstructed state. He sort of brushes her off but doesn’t tell her to go either, simply stating that she doesn’t need to waste her time.

Riley obviously doesn’t consider it a waste of time. She comes around the table and sits on the opposite end of the bench, searching for something to say to make the scenario better. If there’s anything she could say at all, in the one moment where she finally has his attention.

> **Riley: **I don’t think you deserved that.

The sentiment hangs in the air. Lucas is still turned away from her, so she doesn’t see the way his expression shifts in a dozen little ways before settling back into blank. There’s a moment where Riley moves her hand, debating whether or not to reach out to him… but ultimately deciding against it.

She quietly rambles instead, stating that she understands why Harper reacted the way she did after all the chaos she’s had to step into, but the way she went about it wasn’t warranted. And she doesn’t… she doesn’t know him. She doesn’t know him enough to say the things she did. Regardless, like everyone else in the A class, she figures Harper could’ve given him another chance before going full takedown.

> **Lucas: **Yeah, well, some people don’t deserve second chances.

It’s unclear who the statement is directed towards. Harper? Valerie? Himself? Given how his expression twitches again and he climbs to his feet a second later to get away again, it sort of feels like the last one. Riley doesn’t try to stop him, glancing over her shoulder as he disappears back through the doors.

She sits in the chilly November air, absorbing the quiet and solitude for a long moment. A moment of still in a semester that has felt like a constant hurricane.

**INT. AAA - BLACK BOX THEATER - DAY**

Valerie is finally having her sit down with Maya. In spite of the awkwardness that just unfolded, Maya insists that she’s incredibly grateful and excited for this opportunity. She also makes it clear that she isn’t friends with Isadora just to get to Valerie – considering she was barely in her life when they became friends in the first place, that wouldn’t make much sense.

Well, what a nice little pointed reminder. Valerie gently waves her off and assures her that she believes her, and she’s grateful for her friendship with Isadora. And while she only has good things to say about the logistics of her performance (Lord knows she has talent), she ends up knocking her down a peg in the sense that… Maya’s performance wasn’t authentic. She didn’t get any sense of who Maya actually was.

> **Maya: **… what?
> 
> **Valerie:** Darling, your performance was entirely about me. Which, certainly, consider me flattered! But that wasn’t the assignment, and that’s not what a true artist needs to do. It makes me wonder, you know… what pieces of your own story are you hiding from amidst all the glamour?

Maya is at a loss for words. It’s hard to get criticism – it’s even harder to get it from someone you so deeply idolize. It’s humbling in a way Maya has never had to endure before. Valerie warns her against becoming so deeply invested in a stardom persona that she loses sight of who Maya actually is, those pieces of her that make her a unique star in the first place. And if there are pieces in her constellation that feel unresolved… it’s up to her to close those chapters in whatever way she sees fit.

More well-intentioned advice. Whether it’ll pay off as intended, well…

**INT. AAA - AUDITORIUM - DAY**

Eric wanders into the auditorium, on the hunt for Isadora. He finds her where he least expects to, but maybe where he should’ve known to look – amidst the set pieces, building something constructive to distract herself. Defaulting back to the world that feels safe when everything else is imploding around her.

He settles onto an acting block next to her, not disrupting her process but also checking in to see how she’s feeling. He doesn’t expect her to talk about it, but his door is metaphorically open for her to say whatever she wants or needs to say. He states that it’s okay for her not to be okay after all the tension of this week, in its varied forms.

Isadora pauses in her work, pushing her safety goggles onto her head. After a moment of thought, she gives her answer.

> **Isadora: **No, I’m not fine. But I’m not gonna die either. _[ slipping her goggles back on ] _Same old, same old.
> 
> **Eric: **Well, hard to argue with that. _[ a beat ] _Things will work themselves out, you know. People make mistakes, but eventually, things will return to homeostasis.
> 
> **Isadora, genuinely:** I know.
> 
> **Eric: **Good. And until then…
> 
> **Isadora: **Show must go on?

Eric lets out half a laugh, shrugging in acquiescence. Maybe so. He gives Isadora a light shoulder pat, starting to leave her alone when she suddenly touches his hand to keep him from going. She pauses, finding what she wants to say.

> **Isadora: **Thanks… for being there.

After the week he’s had, this hits Eric harder than he expects. He manages a smile and a nod, allowing her to get back to her coping mechanism.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is holding a meeting, speaking very calmly and professionally about the terms of enrollment when it comes to AAA. He’s explaining what it takes to maintain one’s enrollment, so it seems at first that he might be reprimanding Lucas after what Harper said to him, but it’s not our favorite snapback in the chair opposite his desk.

No, seated in the usual chair is MISSY BRADFORD (16). She’s gorgeous, well-groomed, a walking testament to old money in her designer outfit. She keeps a pleasant, patient smile on her face as Jack finishes his lecture, ultimately concluding that _those_ reasons are the cause for them continually dismissing her parents’ requests to enroll her.

When she simply states that if money is the issue, he should simply name the price, Jack scoffs and states that it’s not about the money. He’s trying his best to be patient, but the Bradfords are clearly pushing him to his wits end. Missy asks why their strict enrollment procedures should be so adhered to anyway, considering other students have joined the ranks of AAA under special circumstances. She mentions Riley Matthews specifically, having clearly done her research.

Jack explains that was a special case, and she filled their remaining open slot. It’s a delicate numbers game, a game of personality balancing, of course the talent of the applicant is of significance…

> **Missy: **Special case… hm. Fascinating, what constitutes a “special case.” Isn’t it?

Missy’s tone is innocent, but there’s the slightest of edges to her delivery that speaks volumes. Jack remains strong on his stance, apologizing again but explaining that there’s simply no room for her in the junior class at this time. Missy pauses, nods, and then rises to her feet.

As she’s almost out the door, she turns back to give him a sweet smile.

> **Missy:** Thank you for taking the time to meet with me, Principal Hunter. I think we’re going to get along swimmingly.

Whatever that is, it doesn’t sound like a goodbye. Missy steps out, Jack slouching back in his seat the moment she’s out of sight. He rubs his face, starting to feel some of that familiar AAA exhaustion…

**INT. AAA - BOYS DRESSING ROOM - DAY**

Maya goes to find Farkle, ending up where they seem to have all of their confrontations. He’s gathering his things together for the break. When he realizes she’s there, he attempts to fill the silence by casually commenting how insane the afternoon went. Seems there’s never a dull moment in the junior A class…

> **Maya, simply:** I know it was you. That you told Lucas about Thanksgiving.

Farkle freezes, doing a poor job of remaining impassive. Maya approaches him, surprisingly not explosive in her accusation but rather calm about the whole thing. She explains that she knows it was him given how he overheard them at Chubbie’s, although she’s not going to pretend to understand why he did it. She has no idea what makes him tick, and she isn’t sure she wants to know anymore. She doesn’t know who he is at this point.

While the maneuver succeeded in getting her attention, what she came to tell him is far from what Farkle wants to hear. She looks him in the eye, calm as ever, and makes a definitive declaration.

> **Maya:** This chapter is closed, Farkle. You and me, we’re not friends. We’re not ever going to be what we were before. And presently, I would like nothing to do with you.

The plainness of the statement is what makes such a deep cut. Maya leaves without another word, considering the matter of her broken constellation settled.

Farkle’s expression is blank, only crumpling into something closer to hurt as the reality starts to sink in and his eyes gloss over.

**INT. AAA - PRACTICE ROOM - DAY**

Charlie is just finishing up in one of the practice rooms, Riley poking her head in to find him there. He spots her and assures her that he was wrapping up, so she should be all set to take over if that’s what she needs. She steps inside and admits she was actually looking for him, and Zay said that this is where she’d find him at the moment. When she asks if he has a second to chat, he seems more than happy to give her the time of day.

She approaches the piano, keeping it as a safe barrier between them yet still coming to the table for negotiations. It’s more than she’s given him so far.

> **Riley:** I’ve been talking a lot of talk about our class coming back together in spite of everything… but I haven’t really been walking the walk. It’s much easier to preach forgiveness than to give it out in your own… complex situations.
> 
> _[ Charlie waits patiently, listening intently and holding his breath. ]_
> 
> **Riley: **I still don’t know… why you did what you did. And I guess I never will. _[ off Charlie’s guilty expression ]_ And I’m still not exactly happy with you, but… I don’t wanna be upset anymore. I’m tired of so much negative emotion, and I guess I should start with my own.

Charlie isn’t sure what to say. Riley states that things aren’t going to be the way they were – although what exactly they were, she doesn’t even know – but she’s ready to wipe the slate clean. She’s ready to start over, and let things simply be.

This is a huge relief for Charlie. He’s already smiling, but when Riley holds out her hand for a “truce” sort of hand shake he can’t help but smile wider. The two of them shake hands, a timid new start for whatever their dynamic is actually meant to be.

**INT. AAA - AUDITORIUM - DAY**

The class has gathered together for the end of the week, once again in an uncertain state. Jack and Eric are also present, although they stand at opposite ends of the stage. Lucas is pointedly absent, Harper making the observation but not looking thrilled about it.

Things feel fragile, but still Valerie’s bombastic personality adds some lightness to the situation. She applauds them all for being brave enough to confront their authentic selves this week, in spite of how difficult that can be. She would know, as they all saw her try to run from them.

The class chuckles a bit, before Valerie definitively states that emotionally authenticity is challenging, but the rewards of it – the depth of your relationships, the ability to connect with others, the improved understanding of yourself – far outweigh its fearsome nature. Hopefully, in her brief time with them, they at least got a taste of that.

When it seems the week has come to an end, Dave of all people claims that that can’t just be it. The class questions what the hell he’s talking about, and Dave states that they haven’t done their big group number yet. They haven’t used music to magically fix everything or make things feel light again.

Although this is sort of a silly way of putting it, Dave might actually have a point. They’ve been so wrapped up in the authenticity, they sort of lost sight of the other way music connects them – the moments where it’s fun.

Riley picks up the slack, claiming she can kick them off. Emotional authenticity, energized fun… who says you can’t have both?

* * *

**Song Cue ♫ ♪ “You Can’t Stop the Beat” as performed by Hairspray Original Movie Cast || Performed by AAA Juniors (feat. Valerie De La Cruz)**

What a change of pace from the heaviness of the episode, but somehow exactly what everybody needs. It sort of feels like the presence of Valerie herself – upbeat, a tribute of the artistic spirit, but also covering for something deeper underneath.

More than that, the number serves to give us a swift reminder of everything that unfolded this episode. As Riley launches us into the number, she pulls Charlie in to be her Link Larkin – a duo that we haven’t witnessed in action in months. Maya and Zay take the start of the next verse, pulling Isadora into it with them for the chorus.

Eric kicks up the energy by stepping in to sing as well – something he hasn’t done in ages. It feels timely and clearly delights the class, inspiring other uncommon performers to jump in with him – Asher, Dylan, and Jeff hopping in alongside Yindra, Nigel, and Clarissa. Eric’s _“So if you don’t like the way I am, well I just don’t give a damn!”_ is uncomfortably pointed towards Jack, who averts his gaze and crosses his arms.

Valerie naturally takes the Motormouth solo after the silly dance break, bringing the whole class back together behind her as a united front. The most impressive thing about the performance is how the whole class seems to be having fun in the moment – even Farkle, who is putting all his energy into the singing and dancing.

As we launch into the last verse, we flash forward to glimpse Thanksgiving coming to fruition…

**INT. GARDNER HOME - DINING ROOM - DAY**

The Gardner family is assembled, extended family present as they engage in Thanksgiving traditions while ELEANOR GARDNER and her sister set up for dinner. One of these seems to be filling out “I’m thankful for” paper slips and hanging them on the wall, DAISY GARDNER and ROSIE GARDNER helping their little cousins stick them to the wall.

Charlie has already put a couple up, but he’s hesitating on this last one. Then it seems to strike him exactly what he wants to say, settling into writing.

**INT. BABINEAUX HOME - KITCHEN - DAY**

The Babineauxs are enjoying a comfortable and cozy Thanksgiving dinner. Zay receives a text, checking it under the table while his family laughs and debates something over their meal.

It’s from Charlie, the phrase nothing more than a happy Thanksgiving. But the picture he’s attached says far, far more. It’s the paper slip, obviously not one he plans to hang up on the wall but the most authentic one he wrote.

** _“I’m thankful for… Dizzy.”_ **

Zay smiles.

**INT. MATTHEWS APARTMENT - DAY**

Thanksgiving dinner with the fractured Matthews clan is going about as well as it could, TOPANGA LAWRENCE and CORY MATTHEWS being quite cordial and AUGGIE MATTHEWS being cute as always. Riley smiles at something he says and then glances across the table, locking eyes with Eric and giving him a grateful look.

Eric returns the smile, obviously happy to be there. Somewhere where he’s truly appreciated, regardless of how hard or easy it is.

**INT. JACK’S APARTMENT - DAY**

The Hunters gathering is going well, ANGELA MOORE laughing hard in conversation with Anne Marie and Shawn helping Jack finish setting the table.

Jack almost puts another place setting than they need, but then remembers. He swallows his emotions, pulling it back and moving on from the moment.

**INT. MINKUS HOME - FARKLE’S BEDROOM - DAY**

As promised, Farkle’s family isn’t celebrating. He’s alone eating takeout in his room, reading _The Great Gatsby_ as he consumes his lonely meal for the holiday.

**INT. GARCIA HOME - DINING ROOM - DAY**

In sharp contrast, the Garcia-Orlando Thanksgiving gathering is far more lively. They all cheer as LILY GARCIA and GRANT ORLANDO break the wishbone, the former successfully getting the larger half and dangling it in front of his face.

While the mood is upbeat, something isn’t quite right. Asher makes this clear when he looks over his shoulder towards the table and it becomes clear that Lucas is nowhere in sight in spite of the place set up for him. Asher’s smile dims somewhat, obviously concerned.

**EXT. NEW YORK STREETS - DAY**

Lucas is wandering the streets of Manhattan on his own, hands stuffed in his pockets and mood unstable. He gets distracted when he passes by a store window, spotting a pair of pretty nice and comfortable looking black boots. Considering how beat up his current ones are, suffice to say they catch his attention.

He glances over his shoulder, clearly contemplating. Then we see him step inside the store, disappearing from frame…

**INT. MAYA’S APARTMENT - DAY**

Even with all the uncertainty, it seems Isadora chose to believe Maya when she stated she wasn’t using her. Because the Harts and De La Cruz women are together for the holiday as promised, clearly enjoying a quaint but warm dinner that Valerie pulled together (aside from the peach cobbler, of course).

Valerie makes a speech, raising her glass and evidently saying something very sincere and sweet about Isadora. There’s real potential in their dynamic now, and its shining on this holiday afternoon. After they knock their glasses together, Maya shifts gears and gets them all to take a selfie. A cute photograph of some badass women, that’s for certain.

**INT. AAA - AUDITORIUM - DAY**

The class brings the number home, the faculty stepping back and Valerie spinning to stand with them again. She gives a proud little shrug, even Jack having to nod a compliment to how she brought the class together even if only for a moment. We end the episode on an energized high note, officially launching us into the next third of the season.

And boy, where could things go from here…

** _END OF EPISODE._ **


	8. Cold Comfort [ 2.05 ]

**Summary for the Chapter:**

> ON THIN ICE – The holiday season brings less cheer than usual as reality settles in with the winter. New traditions replace the old. Invitations to the Matthews’ annual holiday party are extended to all, but a select few are left out in the cold.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**EXT. NEW YORK STREETS - DAY**

**Song Cue ♫ ♪ “Christmas Time Is Here” as performed by Vince Guaraldi Trio || Performed by AAA Juniors**

Flurries are falling over a chilly grey Manhattan, winter descending upon the city. With winter break right on the horizon, the vocals of the junior class set the mood for what is certain to be an uneven holiday season.

**INT. MATTHEWS APARTMENT - RILEY’S ROOM - DAY**

RILEY MATTHEWS is feeling that uncertainty as she finishes addressing and sealing invitations for the annual Matthews holiday party. She’s got a sizable stack for her classmates in a pile on her desk, just finishing off the last few. She scribbles Clarissa’s name on the top of one and adds it to the stack, methodically moving to the next one.

As she continues to work, a **montage** shows us little glimpses of how other homes are looking around this time of year...

**INT. MAYA’S APARTMENT - DAY**

The Hart apartment is cozy but empty, both its inhabitants out on the grind. No decorations are up within the place, which seems off.

**INT. MINKUS HOME - DAY**

The Minkus home is in the process of being lavishly decorated for the winter and Jewish holiday season, but its only the help participating. Although the aura gives the appearance of being festive, none of the Minki are around to appreciate it.

**INT. BABINEAUX HOME - LIVING ROOM - DAY**

A collection of cutely wrapped gifts has begun to accumulate at the foot of a pretty Christmas tree in the Babineaux living room, JADA BABINEAUX home for winter break and in the process of adding some to the pile.

**INT. FOSTER HOME - DAY**

No such room for gifts at the foster home, where a gorgeous fir tree takes precedence in the living room but has no collection of gifts to go with it. Instead, letters addressed to each of the foster kids dots the tree like ornaments, presumably holding pricey but thoughtless gifts inside.

**INT. GARDNER HOME - DAY**

The Gardner home is elegantly curated for the most important time of year, ELEANOR GARDNER putting the finishing touches on the garland and stocking arrangement over the fireplace. She also touches up the glass miniature set of the birth of Jesus set up on the mantle, not one detail out of place.

**INT. LUCAS’S APARTMENT - DAY**

At the Friar apartment, nothing is different. The place is quiet and dark, and the window to Lucas’s fire escape is open even with the frigid weather.

**INT. ERIC’S APARTMENT - DAY**

ERIC MATTHEWS pulls a rack of cookies out of the oven, frantically blowing to cool them off and dropping them on the stovetop. Behind him, gift bags with the names of his fellow faculty wait to be filled in preparation for the last day of school.

**INT. JACK’S APARTMENT - DAY**

JACK HUNTER decorates his apartment with simple but sweet touches, SHAWN HUNTER and ANGELA MOORE playfully arguing in the background over where their old stockings should go. Jack seems to have a moment of melancholy, before he’s pulled out of it by ANNE MARIE WINTHROP approaching from behind and giving him a peck on the cheek. She hands him a mug of hot chocolate, which he accepts.

**INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - DAY**

Riley hesitates on the last couple of invitations, all sealed and ready to go but not bearing names. It’s clear she’s debating whether or not to address them at all, glancing up at her rather blank moodboard for guidance. It doesn’t have any, obviously, so she’ll have to make her own call.

Determined, Riley quickly writes the last two question marks on the envelopes -- Lucas and Farkle. Then she adds them to the top of the pile, tying it together with a piece of twine and heading out.

**EXT. NEW YORK STREETS - DAY**

Riley makes her way down the street to the mailbox, snowflakes catching in her hair. She stands in front of it for a long moment, gazing down at the invitations and attempting to swallow the last of her trepidation.

Then she drops the stack into the mailbox, shutting it and fast-walking back up the street to escape the cold.

* * *

** _Cue title sequence._ **

This episode, much like the_ Les Mis_ one of the first season, takes on a slightly different structure than usual. It unfolds in miniature vignettes, capturing the unique experiences of each of our main players as first semester comes to a close.

Between each story, a small quote indicates a transition in time and focus. So, **over black:**

**PART I**  
** _There’s a world outside your window, and it’s a world of dread and fear.  
And the only bells that chime there are the clanging chimes of doom..._ **

**INT. AAA - HALLWAY - DAY**

Even with the uncertain mood permeating the junior class, the atmosphere still feels festive. Lockers are decorated for students’ respective holidays, and with only a day left of class, energy is higher than usual. Students from all different grades greet one another in the halls, dressed in their most cozy-looking apparel and exchanging small gifts.

LUCAS FRIAR is at his locker, evidently not in the same spirit. He looks as disgruntled as usual, fighting with one of his notebooks before just tossing it down in the bottom and calling it a day.

However, he’s got forces working against him to bring the holiday cheer. He jumps when ASHER GARCIA and DYLAN ORLANDO pop up next to him, slamming his locker closed and launching into a goofy, pitchy duet of the opening tones of “Rudolph the Red-Nosed Reindeer.” They point to one another as they sing the name “Dasher,” Lucas unable to hold back a smile.

> **Lucas:** You did it, mission accomplished. I’m officially anti-Christmas.

They jeer at him, knowing his whole dismissal is a facade. The two of them seem more than ready for the season, Asher looking sharp and cozy in a burgundy cardigan and Dylan in what might be the most outlandish holiday sweater ever manufactured.

> **Lucas:** _[ to Asher ] _You look like adolescent Mr. Rogers._ [ to Dylan ]_ And you look like Buddy the Elf.
> 
> **Dylan, happily:** That’s the nicest thing you’ve ever said to me.

They go on to ask him what the plan is for the techie party this year is, but Lucas claims he doesn’t know. He isn’t even sure they’re still doing it.

> **Asher:** What? We can’t not do it. It’s tradition.
> 
> **Lucas: **We’ve done it, what, two years? That’s not a tradition.
> 
> **Dylan: **Well, not with that attitude.

The three of them begin walking to class, Lucas expressing that the planning for the party usually falls on Isadora. So they should maybe ask her -- oh, but wait, they can’t, because she’s far too busy hanging with her new diva cult to think about it.

> **Dylan:** _[ to Asher ] _There’s a cult?
> 
> **Asher:** No, it’s just a -- don’t worry about it.
> 
> **Dylan:** I’m not _worried_, I’m offended. I thought we were going to start one first.

**INT. AAA - AUDITORIUM - DAY**

The full A class is assembled on stage, waiting for Shawn and Harper to arrive for announcements regarding the last days before winter break. As they’re hanging around, DAVE WILLIAMS has the eye to point out Lucas’s newest aesthetic feature.

> **Dave: **Hey, man, _nice_ new kicks.

They’re the boots he was eyeing in the store window during Thanksgiving break. He thanks Dave smugly, ISADORA DE LA CRUZ tuning into the conversation and frowning. She knows damn well Lucas can’t afford new shoes, let alone ones like that… she makes eye contact with Riley across the circle, who is wearing a similar skeptical expression.

Harper finally arrives, giving the basic low down of some non-stressful last few days activities they plan to do. Shawn jogs in a few moments later, stating after Harper’s dismissed them into small groups that he needs to meet with the techies separately.

Asher and Dylan look to Lucas, curious if he knows what’s up. He shrugs, the three of them marching off with the rest of the crew to their usual spot in the back.

Once they’ve settled into the chairs in the back center section, Shawn stands in front of them and begins his explanation. He speaks with uncharacteristic hesitancy, so it’s evident that whatever he’s about to tell them isn’t going to be good news. And it’s decidedly not -- he informs them that the technician’s booth will be shut down and off-limits until further notice. They aren’t allowed inside.

All of the techies are shocked by this, pointing out how that’s going to impact their work and wondering how long it’s going to be in effect -- but Lucas is downright feral. He’s the loudest opposition out of all of them, asking how the hell they’re supposed to do their jobs and stating there can’t be a good reason for this. As Shawn notes, however, they’re literally a day away from winter break so they won’t be doing much work anyway.

When Lucas presses on _why_ the mandate was laid down, all eyes turn expectantly to Shawn. He stammers out an explanation about new equipment, claiming they’re running on old juice and it’ll be great for all of them to get some better upgrades.

JEFF MONROE and the others seem somewhat excited about this, but Lucas remains unconvinced. He grits his teeth as Shawn continues on with announcements, already thinking ahead.

**INT. LUCAS’S APARTMENT - LUCAS’S ROOM - NIGHT**

Ousted back into his reluctant abode rather than recluse in the booth, Lucas is cramped in his bedroom with the door locked tight. The window is still open to let in the cold but fresh air, Lucas slouched on the floor in front of his mattress. He’s wearing a worn-out Knicks sweatshirt, an outdated behemoth of a laptop computer on his lap as he squints in the dark.

His focus shifts as his phone lights up with a text from Isadora. She heard about the booth, and is just checking in to see if he’s okay or if there’s any way she can help in the meantime. Lucas opts to ignore it, tossing his phone back down and getting back to work.

On the computer, he’s deep on a web search looking up the models of their equipment in the booth. Based on what he can tell, most of the stuff they have in there is _already_ updated to the latest model. All of this is way too fishy, and he’s not buying a second of it.

**INT. AAA - AUDITORIUM - DAY**

Lucas sneaks into the school at the crack of dawn the next morning, still wearing the same sweatshirt and his hair stuffed under a beanie rather than his usual snapback for warmth. He makes his way up to the booth, taking the stairs two at a time.

He takes a moment to make sure no one is around, and then swiftly picks the lock into the booth and breaks inside.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

From what he can tell, everything looks about the same as he left it. He goes to get a good look around, double-checking his list of their equipment and his theorized models, confirming his suspicion that the upgraded equipment excuse was a lie. His fellow techies may not notice, but he spends far too much time in the booth to be fooled.

When he goes to check his usual nook, he’s stunned to find that the panel he usually takes out of the wall has been screwed shut. No more easy removal of it. Lucas curses to himself, checking in the other hiding places where he’d keep his overnight stuff and finding nothing.

Everything is gone.

Starting to panic, Lucas’s attention drifts to a safety notice that has been taped up above the paneling. It reads like an inspection notice, stating that the current area has suffered a “pest infestation” and needs to be fumigated and closed off until further notice. Case in point, the _real_ reason they aren’t allowed in the booth.

Lucas scowls, ripping the notice off the wall in a fury.

**INT. AAA - JACK’S OFFICE - DAY**

The notice is slammed down on Jack’s desk, Lucas hardly able to contain his emotions as he meets with him.

> **Lucas: **This? Is bullshit.

Jack takes the notice from him, making a comment about how he wonders how Lucas got his hands on it. Oh, no, silly him. Of course he just disregarded a mandate from his teacher and barged his way into the booth anyway.

> **Jack, deadpan: **Glad to see we’re remaining consistent right up until the last breath of the semester.

Lucas isn’t in the mood for jokes. Whatever sort of authoritarian bureaucratic fuckery this is, it’s all wrong. They don’t have the right to bar them from one of their most important spaces when they don’t even have a legitimate reason for doing so.

> **Lucas:** I have been in that booth for _hundreds_ of hours -- I practically live in it -- and not _once_ have I seen what I would consider a “pest.” Can’t even make a joke about Minkus or Hart, since we make a point of keeping them out of there. This is unfounded.
> 
> **Jack: **And you can’t trust the authorities in your life that perhaps there is a reason?
> 
> **Lucas: **When all of their excuses so far have been absolute crap? Actually, no, I can’t.

Jack caves, raising his hands in surrender. Lucas wants the truth? Fine. The infestation referred to on the notice isn’t about mice or vermin -- janitor Harley informed him that he discovered evidence that someone or someones might be _staying_ in the booth. That’s a major no-no, not to mention a lawsuit waiting to happen.

Lucas does his best to keep his expression neutral. He continues to stammer for more arguments, but for what it’s worth Jack can see right through him.

> **Lucas: **You can’t just do this based on a suspicion! You don’t even have proof!
> 
> **Jack: **Proof? You really want proof?
> 
> **Lucas: **Well, since you don’t have any --
> 
> **Jack: **Fine!

Jack rises from his desk, going to the small storage closet in his office. He retrieves a full duffle bag of things -- the items recovered from the booth when Harley stumbled upon it. He drops it on the desk, watching Lucas’s expression as it shifts from aggressive to stunned.

> **Jack: **These were the items Harley found in the booth. Look familiar?
> 
> **Lucas:** … I --
> 
> **Jack: **Think they should. I’m fairly certain they belong to you.

Checkmate. Jack _knows_ Lucas was the one staying in the booth, and he knows that’s why he’s taking this whole thing so personally.

Still, he responds with empathy. He attempts to get Lucas to talk about what’s going on, or how long this has been a thing, but such difficult conversations can quickly go nowhere. And with Lucas’s current emotional state, that’s exactly what happens. He lashes out instead, shutting down rather than taking Jack’s offers of help.

So Jack has to switch approaches as well, warning Lucas that he cannot keep doing things like this. His behavior is increasingly causing more issues, and with certain people keeping their eyes on the school this is not the time to be lighting more matches. He can’t continue to look out for him if he’s going to take advantage of it at every turn.

> **Lucas, defensive: **Then _don’t_. News flash, I don’t care about this stupid school!

Jack tries to get him to stop and actually talk, but Lucas is over it. He scoops his things off the desk -- confirming they _are _in fact his, to Jack’s clear dismay -- and storms out of the office.

**INT. AAA - HALLWAY - DAY**

Lucas is attempting to stuff some of the things in his locker, any holiday cheer that he may have picked up earlier in the day long gone. Dylan and Asher come to find him again, obviously concerned by his palpable anger and wondering how he’s handling being kicked out of the booth.

Not well, obviously. Dylan tries to say something to cheer him up, but Lucas isn’t hearing it. He’s gathering his things into the duffle.

> **Asher: **Well, hanging out with the crew will make you feel better. We’ll be able to figure out the plan for the holiday --
> 
> **Lucas, harshly: **Pretty sure the party’s off, spaghetti. Not that it fucking matters anyway.

Lucas slams his locker, marching down the hall. Asher and Dylan call after him, wondering where the hell he’s going.

> **Lucas: **Anywhere but here. I’m taking winter break early.

Asher tries to get him to stop, but he’s already gone. The two of them exchange worried looks.

**EXT. AAA - DAY**

As Lucas is jogging down the steps, he gets a call from Isadora. She asks where the hell he is before class. He brushes off the concern, and when she changes the subject and asks about the techie party plans, he snaps. He states it’s funny that she’s bothering to ask, but she’s wasting her time. He doesn’t feel much like celebrating, and he won’t be participating this year.

> **Isadora:** Lucas, are you kidding? You can’t just bail. If you don’t do the break-in, then what are we supposed to do?
> 
> **Lucas: **Oh, you’ll figure it out without me. You’ve gotten really good at that.

Lucas hangs up before Isadora can respond, stuffing his phone in his pocket. He takes a deep breath, inhaling the icy air and running the rest of the way down the steps. As far away from AAA as he can get, as fast as possible.

**PART II**  
** _Merry Christmas, darling, we’re apart that’s true,  
But I can dream, and in my dreams I’m Christmas-ing with you…_ **

**INT. AAA - HALLWAY - DAY**

While Lucas is accosted by Dylan and Asher in the background and they launch into “Rudolph,” we’re now following ZAY BABINEAUX as he makes his way through the halls with his duffle. He nods to friends as he passes them, high-fives with YINDRA AMINO as they cross paths outside the black box. But his destination that morning is a bit further away, a quick stop before the rest of the school day unfolds…

**INT. AAA - DANCE STUDIO - DAY**

He makes it to his and Charlie’s usual studio just as CHARLIE GARDNER is wrapping up a routine, totally focused on the choreography. Zay takes a moment to watch, leaning against the doorframe with a fond smile on his face.

Once he’s done, Charlie whips around and spots Zay. He reacts in surprise at first, claiming he scared him and wondering why the hell he’s just hanging in the doorway when he should’ve just come in. He could’ve easily stopped the run through. Zay brushes it off, sauntering in as Charlie excitedly claims he has something to show him.

He retrieves something from the front pocket of his backpack, turning back and giving Zay a grin and eyebrow raise. When he prompts him to go on, Charlie enthusiastically dangles his key ring between them, now bearing a new car key.

> **Charlie:** Early Christmas present from the folks. I mean, I’m still terrified to use it, but now the option exists._ [ with a nudge ] _Maybe now you can stop having to drive to and from Queens all the time and I can save you the trouble.
> 
> **Zay: **Whew, Santa, baby. You’re giving me an extravagant gift just from gas money savings alone.

Charlie cracks up, returning the keys to his backpack. Zay takes the opportunity to shift gears, dropping down to unzip his duffle bag. Speaking of gifts… he may have a thing or two for him. Charlie is caught off-guard, claiming he wasn’t expecting a gift exchange. He can’t possibly accept something from him. It wouldn’t be fair.

But Zay is too darn cute to refuse, and he assures him it’s not a big deal. The first thing he presents is a slip of paper, which he brandishes with a flourish as he hands it to Charlie.

Upon closer inspection, it’s revealed to be a coupon for all-he-can-eat French fries at their Queens diner. Charlie laughs again, nodding appreciatively.

> **Charlie: **Okay, okay. If this is what you meant, then I guess me braving my fear of the New York roads to see you is equal enough.
> 
> **Zay: **Hey, that’s a _steal_ of a coupon you’ve got there. Don’t take that generosity lightly._ [ a beat ] _And there might be… one more piece.

Before Charlie can argue, Zay drops down and grabs his last gift. It’s a bundle wrapped in newspaper. Charlie gives him an eyebrow raise as Zay encourages him to unwrap it, clasping his hands together in front of him.

The newspaper falls away, and suddenly Charlie finds himself holding one of Zay’s sweatshirts.

His expression shifts from playful to something softer, obviously not sure how to react. He holds it delicately in his fingers, lightly shaking his head.

> **Charlie:** Zay…
> 
> **Zay:** Ah, no, don’t worry. I’ve already thought about everything you could possibly say. I’ve thought it all through. I picked the best one based on which would be least likely to raise eyebrows, as well as one you could _conceivably_ have in your own wardrobe... you know, if you ever shopped anywhere other than the _GAP_ for once.
> 
> _[ Charlie can’t help but laugh. He unfolds the sweatshirt a little bit more as Zay continues his explanation. ]_
> 
> **Zay:** It’s also one of my newer ones, so it’s just broken in enough that it’s like, me, but not worn in _enough_ that it would seem like a hand me down. You can easily say to anyone that asks that you just bought it. I really only wear it around the house, so as long as you don’t wear it at my place of living, you should be all clear.
> 
> **Charlie:** What made you think of this?
> 
> **Zay: **Well… I know that this is exactly the kind of thing you’d like to have, but wouldn’t ask for on your own. Thusly… happy holidays, Chuckles.

And he’s exactly right about that. It’s a thoughtful gift for a couple who has been together for six months, even in secret, and it’s more than clear how much it means to Charlie.

> **Charlie, sincerely:** It’s perfect._ [ hugging it ] _Thank you.

Zay gives him a nod, smiling brightly. Charlie goes on to apologize again, feeling bad that he didn’t try and figure out something similar to give him. Zay assures him that it’s fine, but subtly suggests that he might have a solution.

> **Zay:** You can always make it up to me… by coming over for dinner.

Although the aversion is pointedly less strong than it was even a couple episodes ago, Charlie is still freaked by the suggestion. He claims he can’t do that, but Zay attempts to change his mind by explaining the full context -- his mom is super into like, knowing his friends, and she wants to have an evening during winter break where he invites some of his closest over for a casual dinner sort of thing. His parents are super friendly and not at all suspicious, and considering how often he talks about Charlie they wouldn’t think anything of it if he were in attendance. In fact, it might be weirder for him to _not_ be there.

But that’s not enough. There’s something in Charlie, deeply rooted inside him somewhere, that cannot wrap his head around such a possibility without thinking about the implications. He sticks by his original answer, despite how much it hurts to do so.

Zay tries not to let the rejection sting, but his disappointment is getting harder to hide. The longer they’re together, the more he has to wonder if things are _ever_ going to change the way he keeps hoping they will. He understands, of course, but at what point is it going to get easier? If it ever does?

> **Zay:** Kind of ironic, isn’t it? Most wonderful time of the year, and we’re still so stuck.

The comment isn’t said harshly, but it makes its point. Charlie tries to say something to fix it, but comes up short. Zay walks away before he can stop him, stepping out of reach as he tries to take his arm.

* * *

**INT. AAA - HALLWAY - DAY**

**Song Cue ♫ ♪ “Blue Christmas” as performed by Glee Cast || Performed by Zay Babineaux**

Zay emerges into the hall, launching into the bluesy holiday classic. His voice is heavy with emotion as he saunters through the school, passing by other classmates and friends already reveling in the joy of the season and welcoming the incoming freedom of break together.

More to the point, it’s as if Zay can’t escape the echoes of what it is he most desperately wants. He passes by other students in romantic relationships openly being together, exchanging gifts, joking about mistletoe, making holiday plans. Dylan and Asher fall into giddy laughter by the latter’s locker, Asher nudging him lightly before pulling him into a kiss.

By the time he gets to the last verse, he’s returned to his locker. Across the hall, Charlie is at his, exchanging a quick chat with HALEY FISHER and CLARISSA CRUZ before they saunter off to class. The distance between them is suffocating, in spite of how close they are in every other way.

Elvis and any other performer have no idea what longing means compared to Isaiah Babineaux. He leans against the wall of lockers and watches Charlie disappear around the corner without a second glance. Then he adjusts and tilts his head back against the cold metal, crooning out the last few notes as the piano takes us out.

* * *

**INT. BABINEAUX HOME - DAY**

Winter break kicks off, the front door to the Babineaux home opening to find Riley, Yindra, and MAYA HART there on the doorstep. They cheerfully greet Zay, exchanging hugs with him as they step inside. DONNA BABINEAUX is quick to come greet them, explaining that she just started on food and that Omar and Jada should be home soon.

Maya and Riley head to the living room, Donna hanging by the door and asking Zay if they’re expecting anyone else. What she means, naturally, is are they still waiting for one more. Zay shrugs, trying to cover his ill feelings.

> **Zay: **Wouldn’t count on it.

He follows his friends into the living room without further comment, Donna giving him a curious look as he goes.

**INT. GARDNER HOME - LIVING ROOM - DAY**

As is tradition in the Gardner household, the children are assembled to decorate the tree together. ROSAMUND GARDNER is hard at work, determining where each ornament should go while DAISY GARDNER unwraps them from their tissue paper and hands them off.

Charlie is supposed to be on box duty -- retrieving the new boxes from the storage bin and passing them to Daisy -- but he’s sort of slacking on the job. He’s zoned out, lost in his own head and turning a baby angel over in his fingers absentmindedly.

He’s broken out of his fugue by a soft ornament to the face, Daisy remarking that he’s not being very much help. He tosses it back at her, snarkily excusing himself as he pushes to his feet. Daisy and Rosie watch him go, once again observers to his unusual behavior.

> **Daisy: **What’s up with him?
> 
> **Rosie, wisely: **Testosterone.

**INT. GARDNER HOME - KITCHEN - DAY**

Charlie enters as his mother is busy slaving away, baking an assortment of holiday cookies for the upcoming festivities. She greets him cheerfully, passing a peanut butter drop cookie towards him from fresh off the rack. She knows how they’re his favorite.

He accepts it gratefully, breaking off a piece and taking a bite. He glances towards the refrigerator, where Riley’s invitation is hanging. He tentatively asks whether or not it would be okay for him to attend the party. Eleanor checks out of the baking zone, glancing at the invitation again and reading it over before granting him permission. It doesn’t conflict with any of their family plans, and Riley has always seemed like a wonderful girl and good friend to him. It would be rather rude of him to decline the invitation when she took the time to invite him, now wouldn’t it? You know, a good _friend_ like Riley…

Implications of how his family thinks of Riley aside, Charlie searches for a change of subject. On the subject of their family plans, he softly questions whether or not Bridgette will be coming home for Christmas this year. Even though she’s not facing him, it’s obvious that the query catches Eleanor off-guard. She tries to skirt it, her nonchalance kind of pissing Charlie off.

> **Charlie, curtly: **Was she even invited?
> 
> **Eleanor:** _[ with shocked disappointment ] _Charles.

For as quickly as the boldness shot through him, it’s zapped away even faster. He avoids his mother’s gaze, pushing away from the counter and claiming he needs to go call Riley to let her know he can come.

**INT. GARDNER HOME - CHARLIE’S ROOM - DAY**

Safely hidden away in his room, Charlie leans back against the door and hides his head in his hands. Trying to get a grip on his emotions, which seem to be fluctuating more than ever nowadays. Too bad he has no idea how to settle them.

Well… maybe that’s not entirely true. A thought strikes him, Charlie going over to his duffle bag and digging through his school things. He finds what he’s looking for, grabbing Zay’s sweatshirt and holding it out in front of him.

After a moment, he pulls it on over his head.

Not an instant cure all, but maybe a little bit better. Charlie adjusts it on his shoulders, flopping onto his bed and staring at the ceiling. Lost in the way he wants things to be, not certain how to make them so or if he even has the courage to follow through if he did. He takes a deep breath, closing his eyes and crossing his arms like he’s hugging himself.

As if with the sweatshirt, it’ll be like he’s hugging him.

**PART III**  
** _Christmas Eve will find me where the love light gleams,  
I’ll be home for Christmas, if only in my dreams…_ **

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Maya and Isadora are in the dressing room together, hanging out before theater lab. While Maya has definitely noticed that Katy has been so weird about money lately, she’s found a new way to spin it in her head that makes it seem like a positive rather than a negative.

> **Maya: **It’s totally some kind of surprise thing. Like a big present for the holidays. Tickets to a Broadway show, or maybe even a trip. God, how cool would it be to go to like… Los Angeles? The Hart women take L.A.

Perhaps a new level of delusion. Isadora doesn’t look sold on the idea, but she doesn’t want to burst her friend’s bubble either. Maya takes her expression as a lack of interest in L.A., lamenting that she’s been there dozens of times to see Valerie, so of course she doesn’t find it all that impressive. She’s jaded to the west coast allure.

> **Isadora:** Ah, yes, the allure of smog and snail trail traffic is truly irresistible…

Maya gives her a look, flipping her hair over her shoulder. Case in point, what Maya wouldn’t give to explore the other entertainment hub of the world. And maybe, if the way they’ve been siphoning away money is any clue, she just might get her wish.

**INT. MAYA’S APARTMENT - NIGHT**

That night, Maya takes the straight-forward approach in pitching this take to KATY HART. She jokingly asks her when they’re going to stop playing charades, when she’s going to reveal whatever the big secret is. Although Katy continues to act aversive and Maya plays along, it’s clear from the way Katy doesn’t want to talk about it that it won’t be a trip to Los Angeles. Clear to everyone except Maya, who has rooted herself into a state of denial.

Only one more night before winter freedom, Maya declares, giving her mother a kiss on the head and fluttering off to bed. Katy watches her go, a wistful expression on her face. Suddenly, she’s looking all around the apartment with a similar emotion -- it might be a dump, but it’s home. It’s where she’s gotten to raise her daughter, the most important thing in the world.

* * *

**Song Cue ♫ ♪ “Slipping Through My Fingers” as performed by _Mamma Mia! _Original Movie Cast || Performed by Katy Hart (feat. Maya Hart)**

Katy gently slips into this nostalgic power ballad, continuing to roam the extent of their small apartment. As she goes, small glimpses of flashbacks come into focus, featuring her and Maya as she grew up through the years. A toddler Maya running away from the bathtub as Katy chases after her, wrapping her in a towel and cuddling her close; the two of them singing together as they make dinner together when Maya is in elementary school; a middle school Maya in her leotard, showing off a routine she just learned in dance class to a fond and proud Katy.

**INT. MAYA’S APARTMENT - DAY**

The song continues into the next morning, Maya getting ready for the last day of the semester. Katy offers to braid her hair specially in a crown around her head, the two of them sharing laughter as she does so. As Maya heads out for school, she blows a kiss to Katy.

Once Maya is gone, the tone of the piece seems to shift somewhat. Katy begins taking things down, packing certain things away in boxes in her room. She grows tearful as she goes, having to take moments to step away from it.

**INT. AAA - DANCE STUDIO - DAY**

Maya takes her verse while rehearsing in the dance studio, the thought of whatever might be going on with her mother obviously distracting her. When she turns to face the mirrors, she envisions Katy standing there behind her, encouraging her to keep her chin high and smile on. The exercise works like a charm, Maya going back to run the routine again.

**INT. AAA - HALLWAY - DAY**

As song floats through the final verse, Katy wanders the halls of AAA. It’s a bit unprecedented for her to be there, but it’s clear she’s on a mission.

* * *

**INT. AAA - CORY’S CLASSROOM - DAY**

Katy lightly knocks, surprising CORY MATTHEWS from grading papers. He greets her happily, wondering what would’ve brought her all the way to AAA.

From the way her eyes are glossed over with tears, it’s not going to be for anything good.

> **Katy: **I hate to do this, but… I need to ask a major favor.

**INT. MAYA’S APARTMENT - EXTERIOR HALL - DAY**

Maya is on the phone with Riley as she walks home, confirming that she’ll be at the party.

> **Maya:** Why you decided to _mail_ invitations like we’re in the 1930s, I have no idea, but you do you babe.

After she hangs up, she takes a second to eye their bare apartment door. Then she unlocks the door, stepping inside.

**INT. MAYA’S APARTMENT - DAY**

Katy is already waiting at the kitchen table when Maya enters, nervously twisting her fingers. Maya doesn’t catch her demeanor right away, commenting that it’s a bit weird they haven’t put up their wreath yet. Or any decorations, really. Maybe they should get on that, with the holiday right around the corner?

> **Katy, timidly:** I don’t think we’re going to be able to do that this year, baby girl.

The moment she hears her tone, Maya immediately loses her teasing attitude. She grows more serious, asking what’s wrong as dread creeps into the room. Katy gets up from the table and guides Maya to sit with her on their couch, indicating there’s more to say.

That’s also when Maya realizes Cory is there with them. He rises from his seat in the arm chair to greet her, but his presence just makes her more confused and thusly, more nervous. She continues to ask Katy what the hell is going on, bordering on panic.

> **Maya:** Mom, what is he doing here? What the hell is going on? Mom --

Katy shushes her, trying to keep it together for her sake. She goes on to explain the situation as coherently as she can -- the diner isn’t making ends meet anymore. They’ve been struggling to pay bills for months. She tried to find additional work beyond the two jobs she already has, but there’s not enough time and she doesn’t have enough credit to her name.

The bottom line is, they can’t afford to live in this apartment anymore. She can’t afford to stay in the city right now.

In an instant, Maya is in tears. She’s shocked, bewildered, and bubbling with millions of questions. How could this happen? Why didn’t she tell her? She could’ve picked up a job, she could’ve helped search. But the true question rises eventually -- what about AAA? How is anything going to work the way she’s known it her entire life if they’re moving away?

This is where Cory steps into the conversation. With prompting from Katy, he calmly explains that they’re extending the invitation for her to come move in with them. Now that Topanga has moved out and they’re rearranging things anyway, they have more than enough room and would be happy to have her.

It’s a nice sentiment, and Maya appreciates it. But… she doesn’t _want_ it. She doesn’t want to leave this place, and she for sure doesn’t want to be apart from Katy. She stammers out as much as she’s overcome with tears, Katy pulling her into a tight hug as she starts to cry as well.

> **Katy: **I know, baby, I know. But it’ll work out. In time, it’ll work out. And you need to be here. You need to be here shining your brightest, I’m not gonna let all this take you away from that. _[ pushing some hair out of her face and wiping her tears ] _The dream is priceless. We’re not letting you let it go for any reason.

Maya nods, but she’s still crying. The two of them embrace again, dreading the moment they’ll have to let go.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Maya drops the last of her things in the sparse master bedroom, all of Cory’s things having been moved and Riley’s stuff scattered in the process of moving. Cory explains that with Topanga vacating and Maya moving in, the two girls could share the master given that he won’t be needing nearly as much space for himself.

He leaves her alone to settle in with a pat on the shoulder. She waits for him to go, closing the door behind her. She starts to go to her suitcase and unpack, but can’t bring herself to do it. Her hands are shaking. Somehow, her entire world has turned upside down.

* * *

**Song Cue ♫ ♪ “Home” as performed by Beauty and the Beast Original Broadway Cast || Performed by Maya Hart (starting at 00:40)**

In this moment, nothing matters other than Maya’s vocals. It’s one of her most powerful, wrenching performances to date, nothing in the unsettled space to distract from how raw the experience feels. She’s truly lost the feeling of home, and she has no idea if she’s ever going to find it again.

She settles into the undecorated bay window as the number peters out, tears shining in her eyes as she gazes out at her new view of the city. Snow falls gently outside the windows, the melancholy captured in Maya’s reflection through the glass as the screen fades to black.

* * *

**PART IV**  
** _They’re singing “Deck the Halls,” but it’s not like Christmas at all,  
‘Cause I remember when you were here, and all the fun we had last year…_ **

**INT. AAA - PRACTICE ROOM - DAY**

* * *

**Song Cue ♫ ♪ “River” as performed by Glee Cast || Performed by Farkle Minkus**

Picking up with soft piano where Maya left off, Farkle demonstrates his piano skills again as he practices alone. His solitude seems to echo off the walls, dominating the performance despite how great his voice is as always. The lyrics speak to his feelings aptly enough, although if he wasn’t saying them under the guise of practice he likely wouldn’t be expressing them at all.

* * *

Charlie pops in just as he wraps up, claiming that they’re getting ready to close the building for break and they have to head out. Farkle thanks him for the heads up, gathering his things. Before he goes, Charlie takes the second to wish him happy holidays.

Farkle nods and offers a tight smile, but it’s gone as soon as Charlie is out of sight. It’s clear he’s more of the opinion of like… is it? Are they, really, happy holidays?

Slinging his bag over his shoulder as he leaves, he flicks off the light and sends the practice room into darkness.

**INT. MINKUS HOME - DAY**

Farkle’s invitation to Riley’s party has arrived, sitting on the top of the pile of mail sitting on the counter by the doorway.

As JENNIFER MINKUS bustles in with URI MINKUS and EZRA MINKUS, one of them accidentally rams into the stack and knocks it to the floor. Jennifer chides both of them, guiding Ezra into the suite and requesting of Uri that he clean them up.

Headphones in and obviously annoyed, Uri flips through the first few and determines they’re all junk. He scoops all of it -- including the invitation -- into his hands to promptly dumps it into the trash, absolving him of the burden without further ado.

**INT. MINKUS HOME - FARKLE’S ROOM - DAY**

Farkle slips back into his summer habits, reverting back to his appearance and slump of the start of the season. His hair is untidy and even wilder than before now that it’s grown more, and his baggy sweater is going to get worn out from overuse.

He spends a majority of the break sleeping, not feeling the motivation to get out or do much else. It’s what he’s preparing to do that afternoon, drawing his blinds shut from the pleasant view of snow falling over the city, when LILA MINKUS pokes her head in. She’s chewing on a granola bar, back from college for the holidays and distinctly unimpressed with his habits.

> **Lila: **Are you really going to waste your entire winter break lazing around?
> 
> **Farkle:** Are you really going to spend your entire existence annoying the fuck out of me?
> 
> **Lila: **Real classy, germ. If you’re just going to do nothing, you could at least make yourself useful and help mom with holiday prep.

Point made, and hard to ignore. Farkle glances at his bed waiting for him so invitingly, sighing as he slouches out of the room to make his presence on this Earth worthwhile.

**INT. MINKUS HOME - KITCHEN - NIGHT**

That’s how he finds himself assisting his mother with dinner, plaintively cutting up vegetables as she attempts to keep up conversation with him. Given how lethargic he is he’s not all that talkative, but she does her best. She tries to gauge if he has any plans for the remainder of break.

> **Farkle: **No.
> 
> **Jennifer: **Nothing?
> 
> **Farkle: **Just practicing.
> 
> **Jennifer: **Well, I’m sure your friends must have things going on. They can’t all be off on vacations or something. Why don’t you see if one of them wants to do something? _[ a beat ] _I’m sure that Maya --
> 
> **Farkle: **Trust me, they don’t.

This doesn’t sit well with Jennifer. It’s clear that whatever is going on with Farkle is concerning to her, but she doesn’t know how to confront it or figure out what the real trouble might be. So she continues to problem solve aloud.

> **Jennifer:** I can see who isn’t going out of town, if we’re looking for company._ [ excitedly ] _Oh, you know who I should call? The Shapiros. I can see if Roberta is free sometime in the next couple weeks, God knows she could use the date --
> 
> **Farkle, disturbed: **No thanks, I’m fine, thank you!

A notification on Jennifer’s phone disrupts their discussion, prompting her to take her medication. She crosses the kitchen to the corner cabinet and sorts through an array of pills to take them dutifully, Farkle eyeing her as she goes through the motions.

He questions what she takes all those medications for, to which Jennifer gives him an offhand and brief run down of what ailments run in their family and what a pill cocktail they’ve got going on in that cabinet. She points out the fact that he might very well also be iron deficient with how sickly he’s felt lately, so she is going to have the doctor run a blood test when he goes in for his annual physical in the spring.

Commotion from the entryway pulls them out of the conversation, Ezra gleefully exclaiming something. Farkle and Jennifer exchange a look, making their way out of the kitchen.

**INT. MINKUS HOME - NIGHT**

STUART MINKUS has returned home with EZEKIEL MINKUS in tow, fresh from the airport and another successful semester at college. He enthusiastically greets Ezra and picks him up into a hug, joking that he has got to stop growing while he’s not around. Jennifer comes to shower him with affection, Stuart stepping past them and exchanging a playful look with Farkle at all the hubbub.

While the moment of attention from his father is a treasure, getting to see his favorite brother is a pretty sweet deal too. Ezekiel gestures him forward to meet him, wrapping him in a hug that Farkle eagerly accepts. For the brief moments that he’s fully surrounded by family and actually being acknowledged, Farkle seems to relax.

**INT. MINKUS HOME - DINING ROOM - NIGHT**

The table is more lively than usual as family dinner progresses, Ezekiel acting as a lively contributor to the conversation and the mood considerably lighter given that Stuart is actually in attendance. Lila and Uri argue over something inane, Ezra jumping into any part of the discussion where he can manage to understand what’s being said.

Farkle doesn’t speak, but he isn’t nearly as pallid as he actually consumes his dinner. He smiles lightly as his father and older brother speak, simply glad to be back in their presence even if just as a spectator.

The room quiets a bit as Stuart lightly clinks his knife against his glass, getting all of the family to draw their attention to him. He expresses how happy he is to see the lot of them together again, how this year is always his favorite time of year -- and not just because the stocks are rising (ha ha ha, oh Stuart). He states how wonderful it is to have Ezekiel and Lila home for the holiday, and that he’s looking forward to video calling with Raziel later in the week all the way from Europe where he now resides.

Farkle starts to zone out when he begins lauding Ezekiel’s accomplishments and discussing what good fortunes are going on for their family, lasting much longer than Lila or Uri. However, he snaps back to attention when Stuart begins discussing early Hanukkah presents, simply because he calls Farkle out specifically.

> **Farkle:**_ [ blinking out of his daze ] _Huh?

Ezekiel watches with a knowing smile as Stuart goes on to explain the tradition they have within their family, as sons approach their sixteenth birthday. Given that Farkle’s is in just a couple of months, this year means it’s his turn to accept the early gift.

Stuart passes a small, long gift box across the table. It settles in front of Farkle, who picks it up as Lila watches derisively and Uri continues to stab at his green beans. Ezra leans over and practically climbs on top of Farkle to get a good look, bursting with excitement at the prospect of an early Hanukkah present.

Farkle opens the gift, surprised to find a specially made gold name plate with his name engraved into it. He takes it out and turns it over in his fingers, expression hard to read as he gets a good look. Ezra loses interest, going back to his food. Stuart begins a whole spiel about the tradition, how the name plate is -- in theory -- passed down to each young Minkus man who will go on to uphold the family legacy and invest in the family business.

A nice sentiment, but Farkle is a bit short on emotional bandwidth at the moment. He frowns, lifting his head to lock eyes with his father.

> **Farkle: **What the hell am I supposed to do with this?

This is far from the traditional reaction. Jennifer scolds Farkle, Uri actually tuning into the conversation and Lila choking on her food to hold back a snort. But Stuart assures Jennifer that it’s fine, he just wasn’t clear about the purpose of the present.

> **Stuart, genially:** It’s not so much functional as symbolic. It’s just meant to demonstrate how proud I am of you, and how excited I am for you to one day join me in the family business.
> 
> **Farkle:** But I’m… not. I’m not going into business.

To his credit, Stuart is a patient man. He nods, acknowledging Farkle’s current perspective with only a hint of condescension.

> **Stuart:** Yes, we are all quite proud of the accomplishments you’ve made with the performing arts._ [ off Farkle’s disbelieving expression ] _I only mean for when you’re older, beginning to think more seriously about your future. When this performing fad passes --
> 
> **Farkle: **It’s not a _fad_. My passions are not a fad!

An argument unintentionally brews in the midst of all the tension, misguided good intentions and a frayed mental state making for a toxic combination. Stuart doesn’t appreciate Farkle’s waspish tone, turning the tables on him and asking what he expects his future to be then. At what point is he going to stop dreaming and start operating strategically? Farkle defends his ability to be strategic, pointing out that Stuart wouldn’t know what strides he’s making either way considering he’s never fucking around.

Jennifer attempts to end the open fire, but Stuart isn’t finished. He again reiterates the looming question of the future. What is Farkle’s grand plan, when all is said and done? This one stumps Farkle, as anything beyond living day-to-day has kind of felt unrealistic, and the actual notion of a capital-F future seems foggy. The truth is, he has no idea, and that sort of lack of preparedness is simply unacceptable.

While all eyes are on him for his response, Farkle pushes out of his seat and states he’s being excused. Stuart watches him go, immediately beginning to discuss with Jennifer in hushed tones what the hell that was all about. Ezekiel gives his father a comforting pat on the arm, reminding him that growth can take time.

Lila leans forward to pick up the name plate, looking at it with bland disinterest before offering it to Uri. He makes a face, swatting it away with his fork. Major pass.

**INT. MINKUS HOME - LIVING ROOM - NIGHT**

That night, Farkle is crashed on the couch and tuning out everything else. He’s distracting himself by continuing to reread _The Great Gatsby_, the cover and spine cracked and the pages crinkled from use. It’s not the first time he’s read the novel, not by a long shot.

Jennifer comes in to check on him, perching on the back of the couch and reading over his shoulder for a moment. She comments on whatever is going on in the book, to which he hums in response but doesn’t start a conversation. She changes the subject, getting his attention and trying to placate the situation from earlier. She explains that his father is proud of him, they all are, things just aren’t all that simple when don’t meet one another’s expectations. Farkle doesn’t seem bothered either way, but that’s more likely due to repression than an actual acceptance of complexities to the situation.

She gives him another fond look, leaning forward and brushing some hair from his forehead.

> **Jennifer:** My talented boy_. [ softly ]_ I love you.

Farkle returns the sentiment, but his smile doesn’t quite reach his eyes. Jennifer gives him one last pat on the cheek before heading to bed, turning off the main lights and leaving Farkle illuminated by the lamp on the side table.

Farkle continues to read, slouching further into the couch. The grandfather clock standing against the wall continues to tick on, creating a lulling tempo…

**INT. MINKUS HOME - LATER - NIGHT**

The room has gone dark, the lamp suddenly out on the table. Farkle has dozed off on the couch, the clock no longer ticking. His arm is dangling off the couch, still holding the novel loosely in his fingers… inches from the hardwood…

He drops it, the moment it hits the floor waking him with a start. He rouses with a deep inhale, sitting up on his elbow and rubbing his eyes. When he realizes he fell asleep on the couch he sighs, falling back onto the cushions and throwing his arm over his eyes.

That’s when he hears the rustling.

He immediately stiffens, eyes open wide as he listens more carefully. The movement from somewhere deeper in the house continues, although it’s not coming from the hall where all his family are fast asleep. Someone else is in there with him, and it’s not anyone he can account for.

Cautiously, Farkle climbs off the couch and eases back towards the other end of the living room. He searches for a way to defend himself, taking the fireplace poker off its holder and flipping it in his hands. Taking a deep breath, he slowly begins to ease his way towards the entryway where the sound seems to be coming from… squaring his shoulders… ready to do some serious diva damage if necessary…

When he spots the figure of the intruder and raises his weapon to attack, the stranger spinning around to face him catches him by surprise. He shouts, stumbling backwards and blinking to make sure he’s not making this up.

> **Eric: **Careful with that, Farkle! You’ll take someone’s eye out with that thing.
> 
> **Farkle: **_[ in disbelief ] _Counselor Eric? What the hell are you doing in my house?

It’s not _quite_ Eric, see. It’s **Dream!Eric**. He ignores Farkle’s query, brushing it off and instructing him to drop his weapon of mass destruction. If he does so, then he’s more than welcome to follow him. He was just heading out.

Farkle rubs his eyes, but no. Eric is still there, stepping out into the main hall and on his merry way. Farkle hesitates, before letting the poker clatter to the floor and taking off after Eric.

**INT. MINKUS HOME - ELEVATOR HALL - NIGHT**

As Farkle catches up to his dream counselor, Eric asks him if he’s feeling blue this holiday season. Disconnected, out of sorts. Farkle offhandedly comments that he wouldn’t limit it to just this time of year. The two of them stop in front of the elevators.

Eric wisely states that often times, people feel immense pressure during the holiday season. Higher expectations, more socializing, and the sheer emphasis that this should be the most wonderful time of year can lead to it always falling short. Sometimes, you could do with a little reminder of what’s really important. Which Eric is happy to help with… if Farkle is willing to take the journey. The elevator dings, the doors sliding open even though Eric never pressed the call button.

Oh, so it’s _that_ kind of dream. Farkle wouldn’t think of himself as any George Bailey, but if Eric wants to_ It’s A Wonderful Life_ this sitch, then he supposes he might as well go along for the ride.

He steps into the elevator, glancing at Eric next to him then back out towards the familiarity of the hall to his family suite. As the doors slide closed…

**INT. AAA - DRESSING ROOM HALL - NIGHT**

When Farkle steps through the doors again, he’s emerged into the dressing room hall at AAA. On the wall next to him, a flyer for the Kossal audition is on display, as well as a signed poster of _Les Miserables _by the sophomore class. They’ve been transported back to last semester, before everything changed due to an ill-advised fit of emotion. Or, as Eric puts it:

> **Eric: **Before the end of the world.

A good time, Eric says wistfully. Farkle doesn’t understand what he means, wondering why the hell he brought him here… when suddenly the sound of music catches his attention. It’s muted, muffled by the doors separating them from the auditorium. But it’s clear that Farkle recognizes it, remembering the memory associated with it.

He looks to Eric in confusion, who nods him along. He can explore as much as he likes, granted he can get himself to do it. Farkle gazes back towards the doors to the wings, tentatively making his way towards them. Then he’s walking faster, the music growing louder as he pushes through the doors --

**INT. AAA - AUDITORIUM - NIGHT**

* * *

**Song Cue ♫ ♪ “Mambo No. 5 (a Little Bit of…)” as performed by Lou Bega || Instrumental**

The song is already in full swing as Farkle enters the scenery, the classic jam playing over the speakers as the sophomore class is in the process of striking the set from _Les Miserables_. The performers and techies are working together efficiently, creating a fun time out of it by dancing around and goofing off as they get the work done.

It really is an entirely different era. Everyone is lively, comfortable, functioning as a class. Zay and Jeff have a playful dance off, Yindra cheering them on and NIGEL CHEY poking at JADE BEAMON to join the dance. Dylan and Asher are dancing together, Isadora weakly attempting to pull them back into work before they threaten to pull her into the dance too. Dylan manages it, Isadora laughing and surrendering seeing as it doesn’t seem likely work will get done anyway.

Charlie is goofing off with Haley and Clarissa, twirling the latter. Riley is all smiles as she grooves with Lucas, actually getting him to move a little bit as he spins her under his arm. And front and center of it all is Farkle and Maya, dancing back to back and being their full diva selves as they jam out to the bop. The way they used to be -- when they were friends.

Present-day Farkle navigates the scene as it unfolds around him, awestruck and struck by the nostalgia. He can’t remember the last time AAA felt like this, bright and hopeful and carefree. It’s a lot of fun to step back into, all that enthusiasm and camaraderie…

* * *

And even harder to watch disappear. As Farkle steps into the place of his former self the imagery melts away, leaving him standing alone on the empty stage. Dark, quiet, only the ghost light occupying the space with him and casting him in an eerie glow.

He’s startled from his reminiscing when another voice beckons him from the shadows of the audience. He squints, trying to get a good look.

> **Jack: **Come along then, Mister Minkus. We don’t want to be late.

**Dream!Jack**, dressed professionally as always, doesn’t wait up. He marches back through the doors to the atrium, Farkle scrambling off the stage and running through the aisles to catch up.

**INT. MINKUS HOME - ELEVATOR HALL - NIGHT**

Farkle emerges from the elevator out of breath, surprised to be back in his hallway. He spins around to try and find Jack, scoffing and holding out his arms.

> **Farkle: **That’s it, then? Giving up on my monster soul already?
> 
> **Jack: **Sarcasm is only charming in small doses, Mister Minkus.

Jack is in fact still there, hanging by the door to his apartment. Farkle approaches, commenting that he doesn’t see how sending him home is going to show him anything important. He spends enough time there alone. Jack corrects him, stating that he’ll find this is no ordinary version of his home. He explains that people often forget the imprint they leave on other people -- and that may be especially true within the Minkus clan.

**INT. MINKUS HOME - NIGHT**

As they step back through the doors, it becomes clear what has changed in this version of their apartment. On the wall by the coat rack where all the children have their portraits hung up, Farkle is no longer present. This is a scape where Farkle is absent, a figment just like Jack rather than a member of the Minkus family.

Said family is gathered for dinner, business and enterprise dominating the conversation like usual. As far as Farkle can tell as he observes it… it doesn’t seem all that different. Uri looks a little less broody and well-dressed, given that his sibling pecking order changed, but otherwise it looks about the same.

But there are small details that Farkle isn’t picking up on. Like how Ezra is uncharacteristically quiet, far more muted and less eccentric than the way he is today. Lila is exchanging her digs with Uri instead, the two of them no longer semi-comrades in disdain but adversaries. The home is polished and well-maintained, but it also lacks something too. Behind where Farkle and Jack are watching, the grand piano is no longer in the living room.

Farkle states that it looks about the same to him. What did Jack expect to show him, his entire family being miserable without him? Unlikely, since none of them pay attention to one another anyway and he’s the black sheep as it is. Jack tries to point out the nuances but Farkle isn’t listening, pointing out all the ways things seem _better_, like how no one is arguing about their dreams or storming out of the dinner as an embarrassment to the family legacy.

Jack shifts gears, growing frustrated with his inability to see where he leaves an impact. He spins them to face the living room and throws them back into memories, a series of them shimmering like a mirage. Him and Ezekiel talking together on the couch in 112; his mother having him help cook when he was little, Farkle gabbing on and on with his unbridled energy and Jennifer laughing along; Farkle leading a younger Uri and Ezra in imaginary games, both of them enthralled and delighted as the fantastical story unfolds in their living room. Bringing creativity and unconventionality to a home that sorely needs it.

Then, a moment from a different Hanukkah season years ago. Stuart hands a nine-year-old Farkle his copy of _The Great Gatsby_, pride shining in his eyes as he gifts the brand new copy. Farkle takes it eagerly, giving his dad a hug and showing how there are common interests between them.

Present-day Farkle edges towards the warm memory, captivated. His eyes are shining with tears, Jack thinking he’s made his point.

> **Jack: **Don’t you see that? Don’t you see how that feels?
> 
> **Farkle:** I see it… _[ uncertainly ] _But I don’t think I know it.

The feeling of that memory feels about as distant as the time it occurred. It fades, along with Jack, as Farkle settles back onto the couch and the room falls back into darkness. For a moment, Farkle debates going back to sleep to escape all the melancholy.

But the dream isn’t over yet. The grandfather clock chimes, startling him as it bangs out successive clangs to the midnight hour. But it continues to chime even after it should’ve stopped, confusing Farkle and causing him to rise and investigate it.

While the hands are lined up to midnight, the clock isn’t moving. The second hand doesn’t tick onward. It’s completely frozen.

Farkle reaches forward curiously, another familiar voice halting him from messing with the clock when they speak up from behind him.

> **Angela:** Come on, Farkle.

He whips around, eyes wide as he spots his favorite teacher waiting patiently for him across the room. It’s **Dream!Angela**, and although she lacks the usual warmth and energy of the actress her presence alone is cause for emotion.

> **Angela:** We really should get going.

Farkle lets out a strained exhale, jogging over and enveloping Angela in a hug. She doesn’t respond, as she’s merely a spiritual apparition, but the concept of the gesture alone seems to give Farkle some comfort. He embraces her tightly, only pulling back when she gently nudges him and takes his shoulders. She gives him a wise look.

> **Angela: **We don’t dare be late for the future.

**INT. FARKLE’S APARTMENT - NIGHT**

As they push through the doors, Farkle finds himself stepping into an unfamiliar apartment. It’s lavish although essentially vacant, the only object worth note being the grand piano that has relocated to the center of the room. Farkle looks to Angela uncertainly, who nods him forward.

Approaching the piano, a flyer becomes visible laying on top of the piano. Farkle reaches for it once he’s close enough, revealing that the flyer is actually a playbill. It’s a Broadway show -- although the details are nondescript, as they don’t matter -- and flipping to the inside, Farkle is first billed. He’s the star of the show. His big break.

> **Farkle:** It’s… I’m… Angela. Angela, look --

He whips around to show her, the excitement wiped from his face when he realizes she’s gone. He’s alone again, facing this potentially successful future… with no one to share it with. Just him, a playbill, and a needlessly spacious apartment.

> **Angela: **Do you remember what I told you, Farkle?

Angela is seated at the piano again, lightly playing a tune on the piano. Upon careful listening, one might be able to identify the diddy as the ending verse of “The World Was Wide Enough,” but it’s hardly the focus of the scene.

> **Angela: **You once asked me if the dream was worth it. And I told you it was. Undoubtedly so. But I told you something else too. Do you remember?

Farkle looks down at the playbill, searching for the joy that seeing such a future should bring him. Then he gazes around the empty apartment, void and cold. The answer is quite simple.

> **Farkle:** Empty.

**INT. MINKUS HOME - LIVING ROOM - NIGHT**

Farkle jolts awake, the lamplight illuminating the room signaling that we are in fact back in real time. The grandfather clock has resumed motion, ticking in its usual time. He tries to shake off a sense of panic, breathing uneven as he pushes himself into a sitting position. Footsteps in the kitchen behind him freak him out, glancing over his shoulder with wide eyes just as Ezekiel pokes his head out with a glass of water.

> **Ezekiel: **Farkle? What are you doing out here?

Farkle wants to respond, but words aren’t working at the moment. Ezekiel notices his frazzled state, shifting gears and rushing over to ask him what’s wrong. Settling down on the couch next to him, he reaches out and tries to calm him down. Farkle flinches as his brother wipes tears from his cheek, ones he didn’t even realize he had shed.

> **Ezekiel:** Must’ve just been a nightmare. But it might help if you weren’t sleeping out here on the couch. Come on, let’s get you some real rest, yeah?

Farkle allows his brother to help him up, hands clammy and shaky as he rises to his feet. Even as he goes, it’s clear from the haunted expression on his face that he won’t be forgetting that dream any time soon.

Behind them, _The Great Gatsby_ lays forlornly on the floor.

**PART V  
** _Somewhere in my memory, Christmas joys all around me,_  
Living in my memory: all of the music, all of the magic,  
All of the family, home here with me… 

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY**

Riley takes the final segmented part of our story, experiencing a torn existence within the apartment. She and Cory kick off their winter break by moving around all of their things, Riley beginning the process of moving her belongings into the more spacious bedroom.

As she drops her moodboard against the wall by the door, she questions if her father really wants to make this swap. He assures her he’s of sound mind, stating that the last thing he needs is a reminder of all that empty space haunting him. Gloomy. Besides, he goes on, with what Katy requested of him they may very well be giving Riley a roommate to share all the space with.

It’s clear Riley doesn’t know how she feels about _that_ little detail, but she’s happy to provide help where help is needed. She’s feeling jarred enough swapping spaces in the apartment she’s lived in her entire life, she can’t imagine being removed from it entirely.

Their conversation is interrupted by Auggie cheering from the living room. They exchange a look, making their way out into the hall.

**INT. MATTHEWS APARTMENT - DAY**

As expected, Auggie’s fanfare is in response to the arrival of TOPANGA LAWRENCE. She gives him a tight hug and a big kiss on the cheek, offering the same enthusiastic greeting to Riley as she jogs over to greet her. She even grants Cory a familiar kiss on the cheek, obviously in good spirits due to the holiday season.

That, and she does seem simply generally happier. As if the decision to file for divorce and take control of her own life how she wants it is empowering, despite how effectively it’s caused a ripple effect to everyone else around her. It’s evident that she intends to treat this holiday season like any other, pretending everything is right as rain in favor of a good Christmas time.

This includes their annual holiday party. It’s tradition, and they sure won’t be slacking this year. She immediately launches into all of the things they’ll have to get cracking on, operating with that charming discipline she’s so well known for. Auggie grins up at Riley, who gives him a soft smile in return and nudges him along to follow their mother.

**INT. MATTHEWS APARTMENT - LATER - DAY**

Now in the process of preparations, Riley and Topanga work together to set up and decorate the Christmas tree. As they’re hanging ornaments, Riley ventures the question of how Topanga is liking her new place in Midtown. She claims it’s fine, and an invigorating change of pace, but she’s not certain she’ll be staying there long. It’s just a squatting place, a space to regroup until she can figure out where she truly thinks she would fit.

Riley plays along, suggesting some other areas of the island where her mother might thrive. Her phone ringing disrupts it, and although it’s clear she is savoring this actual attention from Topanga, seeing Isadora light up the screen makes her think she should take the call. She excuses herself, jogging back into the hall to her makeshift bedroom.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY**

Riley answers as soon as she’s alone, Isadora letting Riley know she believes she will be coming to her party. You know, if that’s still cool. Riley assures her that of course she’s more than welcome, she did send her an invitation after all. But she has to admit she’s confused as to why she’s not attending the techie party instead. That was likely going to be the same time, wasn’t it?

Isadora huffs, reluctantly stating that the techie party isn’t happening this year. The cause as to why it fell apart goes without saying, both of them quite aware of how Lucas has been acting as of late. Riley repeats the notion that Isadora is welcome with her.

Isadora murmurs that the holiday season certainly doesn’t feel much like the holiday season this year. Riley can’t help but concur, promising that she’ll see her soon as they end the call.

**INT. MATTHEWS APARTMENT - NIGHT**

And as the party edges closer and closer, the more true that seems to become. While Auggie is never around for the sharpest moments, Cory and Topanga begin exchanging digs and snapping at one another again. Although the apartment sure _looks_ festive, it feels far from it.

As Cory and Topanga get into a tiff about one of the items on the food preparation list, Riley finally cracks. She questions why they’re even bothering to have the party in the first place, since working collaboratively seems to be such a burden for all of them. For appearances? To pretend like everything is fine and dandy? What a lovely, shallow Christmas vignette they make.

Topanga is surprised, and Cory tries to comfort her, but Riley escapes before either of them can get a word in edgewise. She disappears back into the hallway, her parents exchanging sheepish looks.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley retreats into her new room… only that doesn’t make her feel much better either. It’s in complete disarray, just like everything else, and now Maya’s added stuff feels even more overwhelming.

Without thinking, Riley grabs her coat and pulls it on in a hurry. Then she’s yanking open the bay window, climbing out onto the fire escape.

**EXT. NEW YORK STREETS - NIGHT**

* * *

**Song Cue ♫ ♪ “Where Are You Christmas” as performed by Faith Hill || Performed by Riley Matthews**

As Riley emerges into the cold, snowy winter night, she takes a deep breath to center herself before quietly launching into an impassioned rendition of this ode to innocence lost. She begins making her way down the familiar streets of the city, the lights and charm of the holiday season the true visual spectacle of the performance.

But as usual, the true star are Riley’s vocals. They build in volume and power as her emotions escalate, reaching a fervent pitch as she makes it to the final part of the song. New York is her stage as she spins around the winter wonderland, lamenting how what used to be her favorite time of year suddenly feels as far away as everything else she once loved.

Even at the lowest times, Riley Matthews truly is too damn talented.

* * *

**PART VI  
** _Everyone would have a friend, and right would always win,_  
And love would never end,  
This is my grown up Christmas list... 

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

It’s the night of all planned holiday festivities, settling us back in a coherent timeline. Riley and Maya are just finishing up getting their now shared room into a decent state, not bad for a couple days work. Maya says as much, tossing her hair over her shoulder.

After a moment, Riley gently reaches out and touches her arm.

> **Riley:** I’m sorry about what happened with your mom.

Maya accepts the kindness, but brushes it off before she gets emotional again. She changes the subject, asking Riley who else is supposed to be showing up to this shindig tonight. Given that she has literally nowhere else she could be, she’s guaranteed at least one party guest.

Riley mirrors Maya’s mocking laugh, claiming that just about everyone from their class RSVP’d. After a beat, Maya curiously asks if that includes Farkle. The query seems more interested than derisive, which seems like a step in the right direction.

But Riley doesn’t have good news in that regard. She covers instead by expressing that Charlie is supposed to becoming, as well as Isadora. Maya wonders what happened to the techie thing if Isadora is planning to come, since she never told her any different. Odd, considering their new status of best friends. Riley opts not to say anything, however, the harsh pre-lapping tones of “You’re a Mean One, Mr. Grinch” say plenty…

**INT. LUCAS’S APARTMENT - KITCHEN - NIGHT**

* * *

**Song Cue ♫ ♪ “You’re A Mean One, Mr. Grinch” as performed by Thurl Ravenscroft || Instrumental (up to 1:00)**

Lucas is seated at his kitchen table, a Grinch-like glower on his face while he’s lost in thought. He’s watching the snow fall outside, stuck in the apartment he hates but is now forced to be in full time. He’s twirling a wrapper in his fingers, absentmindedly twisting it until it starts to come apart with a simple tear. The music is playing from the small radio on the counter, underscoring the dark mood.

GRACE FRIAR pulls him out of his own head, entering the room and joining him at the opposite end of the table. She lightly questions what he wants to do for dinner, beginning to sort through mail. Lucas offers to go through the junk for her, which she declines at first but then allows when he extends the offer again. Sometimes, it’s easy to forget in this household that people can be helpful and kind.

Lucas moves to the counter as he sorts through it, stopping cold when he sees the invitation addressed to him. He removes it from the stack and gets a better look at it, recognizing Riley’s handwriting in an instant. He holds it delicately in his fingers for a long moment, obviously contemplative…

Then it falls into the trash can with all the rest of the junk.

* * *

**Song Cue ♫ ♪ “I’ll Be Home For Christmas” as performed by Kelly Clarkson || Instrumental**

The radio switches to Kelly Clarkson as the Grinch wraps up, a knock at the door surprising both Grace and Lucas. They exchange perplexed looks, Grace asking if he’s expecting anybody. He shakes his head, cautiously approaching the front door to check it out.

When he opens it, he’s immediately accosted by what seems to be the full assembly of the techie crew. Jade is at the front of the pack, carrying their box of decorations and giving Lucas a cheerful greeting as she pushes past him and into the apartment. Dave is next, carrying a small tree in his arms; then Jeff; then Nate, who gives him a playful punch on the shoulder as he lets himself inside.

Lucas turns to watch them take over his apartment, shell-shocked. They’ve got all the goods necessary for their tradition -- food, decorations, gifts -- and start setting up and spreading the cheer without a second thought. Grace pokes her head out uncertainly from the kitchen, Dave immediately rushing over to greet her and shaking her hand enthusiastically.

> **Dave, loudly:** Hi, wow, you’re Mrs. Friar! I’m Dave. I _love_ what you’ve done with the place --

Lucas whips back around to the doorway, finding Asher and Dylan standing together with smug smiles on their faces. They’ve got their hands clasped in front of them and are dressed for the weather, Dylan’s cheeks rosier than ever as they greet him.

> **Dylan:** Greetings, Mr. Grinch.

Slowly, Lucas starts to piece together what’s happening as his shock wears off. He glances back at the party beginning to unfold and his mother being happily guided into the festivities, obviously surprised but not opposed to this unexpected holiday cheer. It’s not a common occurrence in this apartment.

Lucas shakes his head, looking back to his friends with a sheepish look on his face. Clearly appreciative, even if he doesn’t know how to express it.

> **Lucas: **You guys didn’t have to do this.
> 
> _[ Asher and Dylan exchange knowing looks, raising their eyebrows. ]_
> 
> **Asher, matter-of-factly: **Yeah, we did.
> 
> **Dylan: **Merry Christmas, ya filthy animal.

Both of them move forward at once, sandwiching Lucas in a warm hug. Dylan gives him a peck on the side of the head, grinning. Lucas stiffens at first… but then smiles in spite of himself.

**INT. BABINEAUX HOME - NIGHT**

Zay is finishing up getting ready for Riley’s party, Jada and Omar laughing about something in the living room behind him. He’s pulling on his shoes when there’s a knock on their door as well, Donna moving to answer it.

> **Zay: **You expecting someone?
> 
> **Donna: **No, are you?

Either way, there’s clearly someone there. When Donna pulls open the door, Charlie is standing there on the doorstep and quickly turns to face them from looking around at the neighborhood. He looks like a deer in headlights for a second until he remembers that he drove all the way here and chose to do this.

Zay is equally stunned. He blinks at him, trying to figure out if he’s imagining him.

> **Zay:** Charlie? What are you doing here?

Charlie tosses a glance towards him, before clearing his throat and holding out his hand to introduce himself to Donna. She accepts the gesture, stepping back to allow him to step into the house. Charlie states that he’s one of Zay’s good friends from AAA, and apologizes for the fact that he couldn’t make it to the dinner she arranged.

> **Donna: **Oh, well, that’s fine honey. There’s always next time.
> 
> **Charlie, boldly:** _[ looking at Zay ] _I’ll be there.

Omar and Jada are watching with extreme interest from the living room, Donna subtly questioning what exactly he’s doing there right now. Charlie seems to remember that detail, laughing nervously and explaining that he and Zay are both going to Riley’s party tonight. He promised he’d give him a ride, save him a little gas money.

Jada starts to question if that makes any sense -- does Charlie live around here too? -- but Zay quickly bids them farewell and ushers them out the door before any of them can grill him.

**EXT. BABINEAUX HOME - NIGHT**

Zay takes his arm and guides him a little ways down the block, wondering what he’s doing there and how he even managed to get all the way out here in this weather.

> **Charlie:**_ [ holding up his keys ] _I’ve got wheels now, remember?
> 
> **Zay, stunned: **… you drove here?

Charlie nods, pocketing his key ring again. That might be one of the most romantic things anyone has ever done for Zay. He’s speechless, trying to wrap his mind around it, as Charlie continues with an explanation.

> **Charlie:** You’re not doing all the labor in our relationship anymore. Emotional or otherwise. I felt terrible about… well, a lot of things, and… I just want you to know I’m in this. I know I’m all over the place but… I’m serious about what we have. I’m serious about you. I’m trying, Zay. I’m really trying.
> 
> **Zay, softly:** I know. I know.

Charlie smiles lightly. He unzips his coat about halfway to show that he’s wearing the sweatshirt, Zay unable to hold back a smile.

> **Charlie: **Sorry I still haven’t gotten you something in return.
> 
> **Zay: **Dude, what you just did? Driving all the way here and then... _[ nodding to his house ] _That’s the best present you could’ve ever gotten me.

Charlie grins, nodding. Pointedly, he steps forward -- closer than usual in public, although it is dark and in the suburbs -- and slips his hand in Zay’s pocket to hold his hand.

The two of them exchange another fond smile, beginning the walk to Charlie’s car.

* * *

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is playing hostess as her friends from school arrive, dancing around and making sure everyone is having a great time. Nigel and Yindra try to get her to relax, but she feels better up and about. She’s hosting the party, and yet she’s hardly participating in it.

She rushes to answer the door when Zay and Charlie arrive together, greeting both of them warmly. There’s still an awkward beat between Riley and Charlie, but it feels less hopeless than before. She gestures for them to make themselves at home, the two of them stepping into the apartment just as Isadora shows up behind them.

She doesn’t look very cheerful, all things considered. Riley states that she’s happy she made it, which Isadora nods along to but still seems dazed. Out of sorts. Not where she’s usually supposed to be on this night.

Riley senses her apprehension. Gently, she guides Isadora inside and leads the way through the crowd, the door closing behind them.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley and Isadora are situated on the bay window seat, cooped up and escaping the crowd for a minute. For the first time they really get the chance to _talk_, expressing how things have felt so off this year, right up until the last few days of the calendar year. Isadora feels more disjointed than ever, and Riley can relate given that they’re literally sitting in a half-sorted bedroom.

Still, Riley has to have hope. She has to believe things will work out, even if it’ll take some time to get there. Isadora shakes her head, laughing in spite of herself.

> **Isadora:** I have no idea how you do that. How can you manage to be hopeful when just about everything has given you a reason not to?
> 
> **Riley:** Because if I don’t… _[ with a shrug ] _then who will?

A lot of pressure to carry on one girl’s shoulders, but something she’s clearly determined to do regardless. Isadora claims that’s always been her best trait -- the reason they all warmed up to her in the first place. The reason Lucas liked her so much, definitely. They all need some of that energy in their own lives, she supposes.

* * *

**Song Cue ♫ ♪ “Believe” as performed by Josh Groban || Performed by Riley Matthews & Isadora De La Cruz**

Riley starts the thoughtful duet, reflecting the odd emotional state they’re all existing in right now. _“We were dreamers not so long ago”_ is apt enough, and it’s not long before Isadora joins in to harmonize on the chorus. It’s a soft shared moment of vulnerability between them.

**INT. MATTHEWS APARTMENT - NIGHT**

Their voices carry over the rest of the episode as we touch base with the small moments of hope encompassing everyone else. Spirits are high at the Matthews party, a majority of their class enjoying the time together. Maya holds court with a gaggle of the performers, exuding charisma to cover for the hurt she’s grappling with inside. Zay and Charlie actually sit next to one another as they chat with Yindra and Nigel, bumping elbows and exchanging smiles and allowing themselves to just _be_.

**INT. LUCAS’S APARTMENT - NIGHT**

The same warmth is radiating from the techie gathering, where they’ve fully set up their decorations and are just settling into energetic and gleeful conversation. Dylan has his arm around Asher as they’re seated in front of the couch, Lucas coming to settle down next to them and in front of Grace seated on the couch.

He passes a cookie to her over his shoulder, Grace giving him a grateful smile. Actually enjoying the holiday for the first time in forever, love filling a space that usually feels so cold.

**INT. MINKUS HOME - NIGHT**

All on his own, Farkle carefully lights the first candle for Hanukkah. He tends to the small flame gently, lifting his gaze to glance out at the wintery landscape of the city laid out before him.

So high above it all, trapped in his version of reality.

** _END OF EPISODE._ **


	9. How the Twinks Saved Christmas [ Holiday Special ]

**Summary for the Chapter:**

> THE THINGS WE HAVE TO DO – Asher and Dylan attempt to pull together the usual techie tradition when their commanders in chief are unable. One has to wonder how far a couple of loyal lieutenants will go for their best friend.

**Notes for the Chapter:**

> Follow along with the holiday special playlist [here](https://open.spotify.com/playlist/2VzDCCVhXI0OuqFG6L4BNK?si=9mUibxetR0-Icg-f7X8P8w)!

**INT. LUCAS’S APARTMENT - NIGHT**

We’re back at the end of 2.05, the techies flooding into the apartment to surprise LUCAS FRIAR for the holiday. He watches them all in shock before turning back to find ASHER GARCIA and DYLAN ORLANDO in the doorway, giving him smug smiles.

> **Dylan: **Greetings, Mr. Grinch.

The scene proceeds as we saw it the first time, but subtle differences in the camera angles and costuming shine a little more light on the status of Asher and Dylan.

For being so put together in the execution of their holiday rescue, they’re a bit ragged in their appearance. Asher’s hair is a mess, which is a rare occurrence. Dylan’s cheeks are rosier than usual. They look like they’ve taken more than one trek through the winter sludge outside.

When they step forward to pull Lucas into their sandwich hug, the screen suddenly freezes on the sweet vignette. Very much a _record scratch _moment. Then, some familiar voices voice over the warm imagery:

> **Dylan:** Aw, look at that. It’s so cute. Aren’t we cute?
> 
> **Asher: **Well, maybe one of us.
> 
> **Dylan: **Ignoring that. But you may have points with dad there.
> 
> **Asher: **He’s looked better.
> 
> **Dylan: **Sure he’s felt better, too.

Dissection of Lucas aside, Asher goes on to explain how this all makes everything seem so easy. Clicking back a couple of frames to their arrival, he points out how it really just seems like they just appeared out of thin air and brought the holiday cheer.

Although it’s a good part of the story, it’s certainly not the _full_ story. And this doesn’t give nearly enough credit to how far from easy this whole thing was. Or, to the point, any credit to how the whole thing came together at all. Where it all started.

Then, the frames begin moving backwards in time, so fast that they’re hardly discernible. There are fleeting glimpses of moments – Asher and Dylan dashing through the snow, the exterior of AAA in the glow of a wintery night, a Christmas tree farm…

**EXT. AAA - DAY**

Until we’re back outside AAA, the same day that Lucas stormed out early. On the precipice of winter break.

> **Asher:** If you’re going to get the _full_ story, then we’re going to have to go back to the start.
> 
> **Dylan: **Twas the day before winter break…

Time resumes on the frame of AAA, easing in towards the school as students begin disembarking for the end of term.

**INT. AAA - AUDITORIUM - DAY**

**Song Cue ♫ ♪ “Please Come Home For Christmas” as performed by Kelly Clarkson || Instrumental**

The techie crew isn’t going anywhere, not yet. The mood is deflated as the group of them gather in the auditorium, sitting on the stage like usual but not quite feeling like a cohort.

NATE MARTINEZ sits on one of the acting blocks, bouncing and catching a bouncy ball listlessly. JEFF MONROE reclines in a folding chair, leg bouncing restlessly. DAVE WILLIAMS is sprawled on the floor, staring up at the catwalk. JADE BEAMON is finishing some last minute seams on a costume, pin in her mouth as she glances up to listen to the discussion.

That discussion is being led by Asher, Dylan faithfully at his side with the rolling whiteboard. The two of them are attempting to brainstorm other ways the group of them could ring in the holiday spirit, since their techie tradition seems to have fallen through.

Seeing how the whiteboard only has a couple of half-hearted, random words written on it, it’s clear they’re not making much progress. Dylan has moved on to doodling tiny versions of all of them, more focused on that than the brainstorming.

Still, Asher isn’t giving up. He’s the only one actively putting in an effort, pacing as he racks his brain for a solution.

> **Asher:** What about Chubbie’s? We could do family dinner there.
> 
> **Jeff: **Closed for the holidays. Won’t be open from tomorrow to the 26th.
> 
> **Asher: **Okay… oh, well, what about Svorski’s? Maybe she’d let us host something. I’m pretty sure she’s Jewish, right?
> 
> **Jade:** Can’t. We’re not allowed back ever since Dave’s _incident_ with the pastila.
> 
> **Dave:** Look, I said I was sorry!

Clearly, this is going nowhere. Nate is the first to say so, gathering his things and getting ready to head out. The others take this as a cue, also getting ready to go. Dylan is pulled out of his drawing by the commotion (just finishing up a little heart next to his miniature Asher), realizing this is not going as planned.

Asher tries to get them all to hold up, just spend a little more time thinking of something, but the consensus seems to be that there’s no point.

> **Nate:** Look, I get what you guys are trying to do. And it’s great, it’s beautiful that you still believe in the “power of friendship” or whatever, when this school was clearly forsaken and cast away to Hell ages ago.
> 
> **Dylan: **_[ re: Hell ] _You say that like it’s a bad thing…
> 
> **Nate: **But look around. Lucas and Smackle aren’t even here.
> 
> **Jeff: **Isa’s got her new crew now, she probably won’t even notice if the get together is dead.
> 
> **Nate: **We have no way to get into the school without Friar, and to be honest, what’s the point if he’s not going to be there?
> 
> **Dave, sadly:** Won’t be the same without Lucas.

Dave’s favoritism aside, he has a point. Asher searches for something to say, but comes up short. It’s not right, he knows it isn’t, but he can’t figure out how to fix it.

Nate tosses them a peace, telling them he’ll catch them in the new year. Jeff follows him out, then Dave, leaving only Jade behind as she finishes putting away the costuming supplies. Dylan steps forward to comfort Asher, patting his shoulder as Jade addresses them.

> **Jade:** I think it’s really sweet, what you’re trying to do. I wish it would work, too. I wish there was a simple solution.
> 
> _[ Asher can tell there’s a ‘but’ coming. Dylan looks at him, somber. ]_
> 
> **Jade:** But I don’t know… maybe some things aren’t meant to last. Maybe sometimes… things just fall apart.

She steps forward to give both of them hugs, giving Asher a kiss on the cheek and wishing them both happy holidays. Then she heads out, leaving them alone on the empty stage.

Asher sighs, turning and actually looking at the whiteboard for the first time. He gives Dylan a look, somewhere between endeared and confused.

> **Asher: **Is that supposed to be us?
> 
> **Dylan:** _[ with a shrug ]_ It’s a work in progress.

**INT. GARCIA HOME - ASHER’S ROOM - NIGHT**

**Song Cue ♫ ♪ “Mom Returns And Finale” as scored by John Williams for _Home Alone_ || Instrumental (00:45 - 2:00)**

That night, Asher is putting away his school things for the break. He takes a moment to edit his agenda, settling down at his desk and cross-checking the dates in his notebook with the ones on his wall calendar.

He hesitates when he gets to the scheduled date for the techie holiday party, originally set for tomorrow evening. He grabs a pen and begins to scratch it off his schedule… but he can’t bring himself to do it. The pen is hovering over the date on the calendar, but he can’t bring himself to pull the trigger and cross it out for good.

He gets distracted instead by a photo tucked behind the calendar, pushing it to the side a bit so he can get a better look. It’s a polaroid of him, Dylan, and Lucas, taken sometime the previous year. The two of them are all smiles, and even Lucas is cracking a smirk.

Even in photo form, the amount of love that exists between the three of them radiates. Asher takes the picture down from the board and holds it in his hands, obviously feeling sentimental. Remembering a time when things felt easier, torn up over what a mess things have become.

> **Asher, softly:** Maybe some things aren’t meant to last…

Just as he’s contemplating this grim potential, a noise outside his window startles him. He glances at his clock and the late hour, eyes wide towards the window pane when another scrape sounds from just outside. It seems to be getting closer.

Asher edges closer to his window, a distinct sense of unease dominating the scene. He closes his eyes, shaking his head.

> **Asher: **Please don’t be a holiday ghost, please don’t be a holiday ghost…

Mustering up his courage, he pushes open his window. For a second, there’s nothing… then Dylan pops his head up, scaring the hell out of Asher.

He’s out of breath, the climb up to his window being particularly difficult given the winter weather. He props his elbow on the window pane, catching his breath and giving him a grin.

> **Dylan: **Evenin’, lover.

Asher sighs, helping him up and pulling him in through the window. He questions what the hell he’s doing out in this weather, let alone trying to climb around his house. Although he does it pretty frequently, testing his luck when everything is so icy seems like an ill-advised move.

Once he regains his bearings and shrugs off his winter coat, Dylan explains why he came. He can’t stop thinking about the holiday party, and the way they left things at school today. Everyone seemed so bummed, and it’s been plaguing him all afternoon. He continues on this thought train until he gets distracted by the neatly wrapped gift sitting on Asher’s wardrobe, addressed for him. He gets excited about that until Asher lightly smacks his hand away, reminding him that Christmas is in two days and he can surely wait until then.

Maybe so, but it’s so difficult to see Dylan Orlando pout. Asher caves somewhat, allowing him to eat the candy cane stuck to the outside of it early.

Dylan continues his explanation as he unwraps the candy cane, torn between eating it like a normal person and waving it around for emphasis. Now more than ever, he states, the crew of them should be banding together in spite of all the tension at school rather than just letting things fall apart.

Asher agrees, but he doesn’t know what they’re supposed to do about it. He tried to fix it earlier, and that crashed and burned. They were both there. This is where Dylan steps up, claiming that he might actually have the solution.

He hands Asher his candy cane to hold and proceeds to dig through his jacket pockets. Of course, he pulls out an assortment of things that _aren’t_ what he’s looking for.

> **Dylan:** _[ pulling out a wrinkled receipt ]_ No, that’s not it. Oh, wait, I think I was supposed to return these actually –
> 
> _[ Asher pops the candy cane in his mouth without thinking, waiting for him to find it. ]_
> 
> **Dylan: **_[ pulling out a used tissue ]_ Ew, well, haha, _that’s_ not it –

As he’s about to simply put the tissue back in his pocket, Asher gags and shakes his head. He tells him to give it to him, Dylan obeying and passing it over. Asher holds it daintily, barely hiding his disgust as he quickly tosses it into the trash can.

> **Dylan: **_[ pulling out a movie ticket stub ] _Oh, this is from _Detective Pikachu_! You remember when we saw that? We should totally get that when it comes out on digital download –
> 
> **Asher: **Dylan. Dyl. Lighthouse, bring it home.
> 
> **Dylan: **Right, right.

Dylan finally manages to retrieve what he’s looking for, a folded up piece of lined paper. He holds it up in his fingers proudly.

> **Dylan:** Isa made a list.

As he goes on to explain, when Riley helped them set up the holiday party last year, Isadora made a step-by-step list of all the items that go into preparing their tradition. He also still has the grocery list from when the two of them helped with that task last year. All they have to do is complete all the preparations, and then _they’ll_ bring the tradition to Lucas.

Not a bad idea. Asher definitely seems intrigued as he swaps out the candy cane for the list, looking it over. But he’s always been the detail-oriented one to Dylan’s big ideas, so he naturally has questions. Firstly, the elephant in the room.

> **Asher: **What about Lucas’s dad? We’re hardly allowed over to his place as it is, if we showed up with all this when his dad was around he would freak.
> 
> **Dylan: **I thought about that, too. But then I remembered how he was complaining during Thanksgiving about his holiday plans getting swapped around. Originally his dad was going to be here for the winter holidays and not Thanksgiving, but then it got changed. Remember?

That’s one potential road block out of the way. Asher asks about money, as the endeavor to pull this thing off is usually a group effort. Dylan states that if they let the other techies know their plan, he’s sure they’ll chip in and help in whatever way they can. As for decorations, Dylan points out that they saved the ones they made from last year, so all they have to do is retrieve the old ones rather than make a ton of new ones.

Asher is warming up to the idea, but one glaring question still remains.

> **Asher:** Do you really think we can pull this off in a day? The party was supposed to be tomorrow night. You actually think you and I can do this on our own.
> 
> **Dylan: **That, my dear –
> 
> _[ Dylan grabs his duffle bag from underneath his heavy coat, dropping it onto the bed for emphasis. ]_
> 
> **Dylan:** Is why I’m sleeping over. We’ve got an _early_ start tomorrow!

So it’s settled. Dylan and Asher are going to save Christmas.

**INT. GARCIA HOME - ASHER’S ROOM - DAY**

**Song Cue ♫ ♪ “Setting the Trap” as scored by John Williams for _Home Alone_ || Instrumental**

Asher’s alarm wakes them both up bright and early, the sun barely rising outside. He blinks himself awake, pulling himself free from hugging Dylan from behind and shaking him awake as well. If they’re going to do this thing, they’ve gotta get moving.

Thusly, a brief montage ensues of the two of them getting geared up for the mission. Pulling on their cozy sweaters, getting that good dental hygiene in with a brush and floss, Dylan attaching his skateboard to the back of his backpack and tightening the straps on his shoulders.

**EXT. GARCIA HOME - DAY**

Then Dylan kicks open the front door, the two of them ready for action. Heavy coats, gloves, and cute knit hats abound.

> **Dylan:** Let’s get some holiday cheer, bitches.

**EXT. NEW YORK STREETS - DAY**

As they embark on their journey, however, they quickly become aware that this is going to be more difficult than they previously anticipated. Snow continued to fall overnight, and the sidewalks and roadways are slick with slush and ice.

So they’re stumbling and slipping as they make their way to the grocery store near Asher’s street, catching one another from falling entirely. Asher confirms that everyone has seen their text in the Techie Tots group chat, and slowly they’re sending in Venmo payments to chip in.

Dylan sets a timer on his phone. It’s 8AM now, and they’ll want to get to Lucas’s apartment by 8PM if they want a chance of catching him in his least Grinch-like mood. Especially given that Riley’s party is scheduled to start around the same time. That gives them 12 hours to get everything done. Piece of cake!

Just as he declares it so, Dylan nearly slips. Asher just barely manages to put him back upright.

**INT. GROCERY STORE - DAY**

Asher and Dylan step through the sliding doors, two men on a mission. All things considered, they’re lucky the store is even open with the weather and the holiday coming up. The MANAGER who just opened up questions what they’re doing there so damn early, especially with this terrible weather.

> **Dylan:** It’s a noble mission that brings us here today, good sir. A labor of love, a perhaps doomed attempt to save a friend already gone, but an important task nonetheless –
> 
> **Manager: **Yeah, whatever, man. Just come to the front when you’re done.

Asher and Dylan exchange a look and a shrug. Asher retrieves the list from his pocket, gearing up to go through the process of collecting all the necessary rations in record time.

* * *

**Song Cue ♫ ♪ “Little Saint Nick” as performed by The Beach Boys || Performed by Asher Garcia & Dylan Orlando**

While the boys grab their cart and make their way through the aisles, the task is intercut with our first Dylan & Asher holiday duet. Naturally, Dylan plays his guitar and harmonizes while Asher takes the lead vocal. It’s unclear whether Dylan is _actually_ not a bad singer as myth has led his classmates to believe or if it’s just a product of their imagination, but who are we to question it? It’s Dylan & Asher!

**INT. AAA - AUDITORIUM - DAY**

For the purposes of the performance, it’s cut between their duet alter egos wandering the aisles of the supermarket and performing on the AAA stage. As for how we can tell them apart, the Duet Dasher are far more well-groomed and dressed than their actual selves. They’re greatly channeling cheeky 50s energy, with coiffed hair and adorable fancy sweaters and vests.

To that point, the entire performance is purposefully cheeky. It’s somewhat of a satirical take on how serious the performances tend to be at AAA each week, Asher and Dylan acting more so as if they’re in a music video. They grin right at the camera, do a lot of synchronized steps, croon into the microphone like they’re the Beatles on Ed Sullivan.

**INT. GROCERY STORE - DAY**

Meanwhile, actual Asher and Dylan are painstakingly gathering all of their materials. Asher is once again riding in the cart while Dylan pushes, the former grabbing things and crossing them off the list as they go.

At one point the camera watches between two aisles as Dylan and Asher go back and forth with their cart, goofing off but also accidentally losing control of the cart and chasing after it. But they manage to accomplish their first task, sidling up to the register and unloading their stuff just as Duet Dasher gives us a parting wink from the auditorium stage.

* * *

Just as they’re adding up their total bill, Asher realizes in horror that not everyone has sent in their contribution yet. There’s no way they’re going to be able to pay without everyone’s contribution, _especially_ without Isadora’s usual help. At first Dylan suggests using “the fund,” to which Asher snaps in exasperation.

> **Asher: **I’m not using my _college_ fund!
> 
> **Dylan: **It’s a holiday emergency!

Asher instead focuses on who hasn’t paid, narrowing down the culprit and letting out a feral growl Lucas would be proud of as he dials their number. This leaves Dylan to engage with the cashier and buy them some time, which he does with a bright beam and a bat of his eyelashes.

> **Dylan:** Hi. How’s it going for ya?

The moment whoever Asher is calling picks up, he lets them have the full force of his anxious, feral stress.

> **Asher:** NATHANIEL!

**INT. NATE’S HOME - LIVING ROOM - DAY**

Nate is crashed on his couch, eating junk food and playing video games as he enjoys the first day of winter break. He puts the phone on speaker and props it on his shoulder, keeping his focus on the game while he chats.

> **Nate:** Hey, Ashlie. What’s up, man?

**INT. GROCERY STORE - DAY**

The scene continues between the two locations as Asher and Nate argue about the payment. Asher knows he saw his text, and everyone else has chipped in. But in Nate’s defense, as he goes on to say, there’s no guarantee that any of this is even going to work. It’s a noble pursuit, and he has mad respect for both of them…

> **Dylan: **What’s he saying?
> 
> **Asher:** He has great respect for both of us.
> 
> **Dylan: **Aw. That’s so sweet. Tell him I love him, too.

… but he’s not going to just throw money around. The chances of them pulling this off are slim, and he needs the money. While Asher continues to nudge him, Dylan continues to try and win over their cashier.

> **Dylan: **So… um… do you come here often?
> 
> **Cashier, flatly: **I’m a cashier.
> 
> **Dylan: **Yeah. _[ a beat ] _Tough business to be in this time of year, eh? Or… any time of year…

Asher is starting to wear Nate down, so he agrees he’ll send over his fair share… but with an “insurance fee.”

> **Asher: **An insurance fee? What the hell is an insurance fee?
> 
> **Nate: **You know, like, money back guarantee.
> 
> **Asher: **Well, yeah, of course we’ll pay you guys back if –
> 
> **Nate: **But that’s not very incentivizing, is it? No, that’s what the fee is for. If you guys blow it, then I get my money back _plus_ fifteen percent interest.
> 
> **Asher: **Fifteen percent?! Who are you, Scrooge McDuck?

Dylan has changed tactics, digging through his wallet for other potential forms of payment.

> **Dylan:** Do you perchance take hug coupons? _[ a beat, then quickly ] Wait_, no, I need those…

The clock is ticking, so Asher can’t afford to argue much longer. After Nate points out that it’s merely common sense business practice – the only helpful class he’s really taken at AAA so far – Asher caves and agrees to the insurance fee.

> **Nate:** My contribution is incoming. I’m wishing you both the best of luck, honest.
> 
> **Asher:** Kiss my _ass_, Nathaniel Dean Martinez!
> 
> **Nate: **God, feral Asher is my favorite Asher. See y’all tonight… maybe.

Once Asher hangs up, it’s mere seconds before Nate’s payment comes through. He comes to Dylan’s aid and swipes that debit card. Groceries secured!

**EXT. NEW YORK STREETS - DAY**

Asher and Dylan attempt to travel once again, only now they’re balancing grocery bags in that equation as well. They have to hold onto one another’s arms to stay upright, and even then they continue to slip a lot. At this point, they’re more concerned about the contents of their bags than their own well-being.

**INT. GARCIA HOME - KITCHEN - DAY**

It’s a relief when they make it back to the house, unpacking and inventorying their items and putting what needs to be refrigerated away for safe-keeping.

As Asher stocks the fridge, Dylan crosses the shopping off their list. The next item is a big ticket one – finding the perfect tree. It’s going to be tough without Isadora’s usual expertise, not to mention that the first task took longer than expected. They’re now running with only **8 hours** to go.

Plenty of time, Dylan declares. But if they’re looking to save minutes, he has ideas about how they could speed up their travel… as a sunshine grin takes over his features…

**EXT. NEW YORK STREETS - DAY**

**Song Cue ♫ ♪ “Holiday Flight” as scored by John Williams for _Home Alone_ || Instrumental**

Dylan’s brilliant idea is, inarguably, bonkers. The two of them are dangerously riding his skateboard down the slippery streets, Dylan using a broom to push them along rather than risking slipping on his own feet.

It’s insane, but it sure is speeding up their distance per minute. Dylan is grinning like a maniac as he steers them along and maneuvers around other seasoned New Yorkers, Asher holding on for dear life from behind.

> **Dylan: **See! I told you it would work!
> 
> **Asher:**_[ hiding his head in Dylan’s shoulder ] _We’re going to die, we’re going to die –

**EXT. CHRISTMAS TREE FARM - DAY**

Thankfully, the two of them make it to the tree farm in one piece, albeit windswept. Asher looks a little sick, and he has to hold onto Dylan’s arm just to keep from getting dizzy and stumbling.

The daunting task of picking a tree doesn’t help matters. The selection is smaller than usual so close to the holiday, but it’s still a maze of potential greenery and the two of them don’t even know where to start.

Dylan makes a bold move, scanning the rows until he spots one and claims it’s the perfect choice. He, of course, has eyed the largest tree in the bunch. The TREE ATTENDANT comes over to join them, seeing if they need help.

> **Dylan:** How much for this one?
> 
> **Asher: **Well, actually, we’re kind of looking for ones that are a bit –
> 
> **Tree Attendant: **Why, that one there is Rhonda. She’s sort of the queen around here, one of our burliest residents.
> 
> **Dylan:** _Rhonda_, Asher!

Asher reminds Dylan that they’re looking for something _small_, even if Rhonda is… beautiful in her own special way. Dylan is heartbroken, but he assures Rhonda that it’s nothing to do with her. It’s all them.

The tree attendant guides them to the more appropriately sized trees for what they’re looking for, Dylan wondering how on Earth they get trees to grow this small.

> **Dylan: **Oh, of course._ [ matter-of-factly, with a wise nod ] _Shrink ray.
> 
> **Tree Attendant: **… he’s real special, isn’t he?
> 
> **Asher, fondly:** Yeah, he’s one of a kind.

The tree attendant leaves them to look at their pickings, but the task still feels daunting. So many potential trees, so little time.

* * *

**Song Cue ♫ ♪ “Sleigh Ride” as performed by The Carpenters || Performed by Asher Garcia & Dylan Orlando**

Same routine as the last duet, only no auditorium jump this time around. While actual Dylan and Asher make their ways through the trees and attempt to identify the perfect one, Duet Dasher with their fancy threads and swoopy hair casually saunter their way down the aisles while performing the Carpenters classic. Naturally, cheek comes with the territory.

While Duet Dasher is skipping around in the snow, Dylan and Asher are narrowing down their search. Once they think they’ve found the right one, another road block develops – this tiny tree is _way_ heavier than it looks. Thus, the second half of the number involves them attempting different ways to move this tree between the two of them… with limited success.

Duet Dasher wrap their performance by playing leap frog, popping up behind the rows of trees, and grinning at the camera again; Dylan and Asher wrap up their try at getting the tree mobile by Dylan pulling Asher while he holds onto the tree, both of them losing their grip and collapsing off-screen into the snow.

* * *

**EXT. CHRISTMAS TREE FARM - DAY - LATER**

**Song Cue ♫ ♪ “Star of Bethlehem” as scored by John Williams for _Home Alone_ || Instrumental (first ~90 seconds)**

Dylan sits forlornly by the tree while Asher paces, impatiently waiting for back up. It arrives in the form of Dave and Jade, who express that they got their call and are there to help with the big emergency. Asher explains the dilemma, gesturing to Dylan sitting by their choice selection.

> **Jade, unimpressed:** _This_ is the tree you picked? You guys are hopeless.

Asher is offended, but Jade promises them she’ll help them pick a better tree in no time. She _was_ the original assistant to Isadora the first time they did this in freshman year. Dylan holds out his hands and Asher helps pull him back to his feet, the four of them setting off.

Once Jade has identified the superior fir, Dylan and Asher point out the weight problem. It’s too heavy for them to transport, especially with nothing but Dylan’s skateboard. Dave gives it a try, lifting the small evergreen like it’s nothing and hoisting it onto his shoulder.

> **Dylan, delighted: **You are a miraculous freak of nature, Davis Williams.

If they’re showing up to this shindig anyway, Jade and Dave agree that they’ll play tree keeper and make sure it gets to Lucas’s on time. The group of them head out to pay together.

**EXT. NEW YORK STREETS - DAY**

Asher and Dylan are catching a quick lunch with Jade and Dave, the four of them sharing a pick-me-up on the street corner and discussing how the holiday heroics are going. Dave stands with the tree, balancing it against his hip.

> **Dave:** I wonder how they make Christmas trees this small._ [ a beat ] _Oh, duh.
> 
> **Dylan/Dave, in unison: **Shrink ray.

While Dylan breaks off a piece of his food and hands it to Asher for him to try, the latter explains that they’re making good progress. They’ve got **5 hours** left, and all they have to do is retrieve the decorations and they’ll be all set. So if they could grab them from Jade, that would be great.

> **Jade: **What? I don’t have them.

Asher starts choking in surprise, all of them reacting accordingly. Jade and Dave back off a bit while Dylan pats Asher’s back, rubbing his shoulders when he’s able to breathe again.

> **Asher: **What? What do you mean you don’t have them?
> 
> **Jade:** They’re still in the auditorium as far as I know. When we were cleaning up last year, Lucas told me that he was going to put them somewhere for safekeeping. So I handed them over and that was the last I saw of them.

Dylan pulls a napkin and lightly dabs at Asher’s face. He gives him a grateful nod, still trying to wrap his mind around this bombshell.

> **Asher: **God, Jade, don’t you know not to trust Lucas with anything?
> 
> **Jade: **Um, no, I know not to trust _Dave_ with anything.
> 
> **Dave, flatly:** … ow.

Jade holds up a hand, waving him off. This completely changes Dylan and Asher’s understanding of what they set out to do.

But they’ve still got to try. They finish their meal quickly and bid Dave and Jade farewell, assuring them that they’ll see them at Lucas’s at 8 sharp. Dave is confused that they still think they can pull this off, but they’re already boarding Dylan’s skateboard death trap again.

> **Dave: **You guys are cracked.
> 
> **Dylan: **High praise, coming from you, my friend.

Dylan gives them a salute, Asher holding on tight as they push off down the street. Jade and Dave watch them go, shaking their heads and finishing their snack.

**EXT. AAA - DAY**

The sun is beginning to set as Dylan and Asher stop outside the school, rushing up the slippery steps. They try the front entrance first, which is obviously locked.

> **Dylan:**_ [ with a shrug ] _Worth a shot.

**EXT. AAA - RIGHT SIDE - DAY**

They continue to do a full perimeter sweep of the building, searching for any potential entry points. It seems like a lost cause until they get around to the side of the building where the custodial services backs out to, a window left cracked open on the second floor offering a slim chance. Asher points it out, the two of them standing close together and staring up at it.

Just as they’re brainstorming how to approach the situation, Asher’s phone rings. He picks it up, surprised to hear from Isadora on the other end. While he turns around to focus on the call, Dylan rolls his shoulders and marches towards the building. He climbs up onto the dumpster against the wall, starting an ambitious scaling to get to the window.

Isadora asks if Asher thinks he or the techies will be attending Riley’s party. He states that they aren’t, Dylan disappearing out of frame above him as Isadora seems to react negatively to that. Asher points out that this shouldn’t exactly be surprising considering none of them really know how to interact with Riley at this point – like sure, he’d like to be there, but that’s not their tradition is it?

> **Isadora:** What, that tradition that isn’t even happening this year? That the own creator of said tradition ditched because he’s just not in the mood?
> 
> **Asher: **Look, I’m not saying it’s a perfect –
> 
> **Isadora: **So you’re just gonna hold allegiance to this thing that isn’t even happening for… what? A guy who doesn’t even care?

Asher grows defensive, attempting to speak on behalf of Lucas and argue that he does care. The last thing he needs at the moment is a reality check, but Isadora is especially good at giving them. Feeling cornered, he makes a brusque effort to deflect focus.

> **Asher: **Well it’s easy for you to say, isn’t it? You’ve got tons of new friends now, so what do you have to worry about?

Isadora goes quiet on the other end. Asher realizes how harsh he may have come across, closing his eyes and sighing. He tries to turn it around.

> **Asher: **Look, I just meant… you’ve got a lot going for you, Isa. You should go. Have fun, enjoy the holiday with people who are actually happy to share it with you._ [ a beat ] _Sometimes, I wish I were doing the same.

Before either of them can continue, Asher is startled by Dylan _falling_ from the ledge outside the second story window and landing in the open dumpster. Asher shrieks.

> **Isadora:** Asher, what –
> 
> **Asher: **Gotta go!

He hangs up without further explanation, sprinting over to the dumpster. He shouts for Dylan, jumping halfway up the dumpster and hanging over the side.

Dylan pops his head up, obviously dazed. Asher grips his shoulders and face, checking for irreversible damage.

> **Asher: **Oh my _God_, are you okay?
> 
> **Dylan: **… well. _That’s_ gonna hurt tomorrow. Ha.

Asher helps pull him from the dumpster. He’s a bit unsteady on his feet, Asher having to rush forward and stabilize him when he almost falls over. Asher wonders if they should go to the ER, but Dylan waves him off.

> **Dylan:** I’ve had… worse falls. Ha ha, remember when I tried to skateboard into the subway and broke my arm and three of my toes?
> 
> **Asher:** … I try not to.

The situation is growing increasingly bleak. It’s getting dark, and there’s clearly no way they’re going to be able to get inside.

> **Dylan: **Just give me a minute, then I’ll try again –
> 
> **Asher: **Try – try again? No, no you are not trying that again!
> 
> **Dylan: **Well, if it’s the only way inside –
> 
> **Asher: **No. No, sorry, I didn’t ask for a dead boyfriend for Christmas!

It isn’t going to work. They’ve only got** 3 hours **left, and there are still so many pieces that aren’t working. Asher is starting to spiral, the hopelessness of the semester finally creeping up on him. Dylan suggests they give up on the decorations and just move forward with the party anyway, but Asher questions why they’re even bothering at all. They should just go home.

He marches back towards the main street in a huff. It takes Dylan a second, but he shakes off his daze and jogs after him.

**EXT. AAA - NIGHT**

The sun has set as Asher stumbles down the steps and back towards the sidewalk, Dylan calling for him to wait up. He does, wiping at his eyes as his boyfriend catches up to him. A light snow is beginning to fall again.

Dylan asks why Asher is suddenly giving up. They’ve still got time and solid chances, but Asher disagrees. They’ve hit a dead end, and this entire semester has been leading towards it. And what’s the point anyway? With how Lucas has been acting lately, he probably won’t even care about all the effort they put into this. He won’t care. He probably doesn’t even want them there.

> **Dylan: **You know that’s not true.
> 
> **Asher: **Maybe everyone else was right. We’re being stupid. _I’m_ being stupid._ [ with a tearful huff, quietly ]_ Maybe sometimes things just fall apart.

He’s reached a breaking point, and rightfully so. Dylan clearly wants to help, or say something that will magically fix things, but he doesn’t have the words. He’s never been smart with words.

**Song Cue ♫ ♪ “O Holy Night” as scored by John Williams for _Home Alone_ || Instrumental**

Suddenly, the street lights flick on as the sounds of a church organ float down the somewhat empty street. Dylan looks over his shoulder to search for the source, blinking the snow out of his eyes. He seems to find what he’s looking for, hit with an idea.

Gently, he reaches out and takes Asher’s hand. Asher lifts his gaze to meet his eyes, looking at him curiously. Dylan doesn’t say anything, but gives him a tentative smile before beginning to lead the way down the street.

Asher follows without question, letting him guide the way.

**INT. CHURCH - NIGHT**

Dylan and Asher arrive at the entrance of the church a block or so away from Adams, cautiously making their way inside. The music is coming from the youth church choir, rehearsing for Christmas Eve mass most likely. Yes, this is directly reminiscent of _Home Alone_.

Still hand in hand, the boys toss an uncertain look to the church worker standing by the main entrance. But she doesn’t give them any trouble, offering a welcoming nod and smile as they ease their way inside. This definitely isn’t Charlie’s church, in any case.

They make their way further inside and settle into one of the back pews, Dylan sitting down first and waiting for Asher to join him. For a moment they absorb the atmosphere, the calm beauty of the architecture and the soothing tones of the choir. It’s a well-needed second to breathe after the day they’ve had. Dylan rests their joined hands against Asher’s knee.

Considering how much work they’ve been doing alone, it’s a bit of a surprise to be addressed by someone new.

> **Man: **Mind if I join you?

Asher and Dylan turn to the aisle, _shocked_ to see their new visitor outside of school.

> **Asher/Dylan: **Janitor Harley Keiner???

HARLEY KEINER jokes about how he does in fact exist outside of AAA, before posing the question again. Both of them nod, scooting down a bit to make room.

**Song Cue ♫ ♪ “Star of Bethlehem - Voice” as scored by John Williams for _Home Alone_ || Instrumental**

As Harley settles in next to Asher, he wonders what he’s doing there. Harley claims he could ask them the same thing, before going on to point out one of the young girls singing in the youth choir. He explains that she’s his niece, and while he doesn’t come around for the actual service since he’s far from a practiced man of faith, he does like to come and listen to them rehearse. Sort of a little tradition he has.

> **Dylan:** Oh, we know all about traditions.
> 
> **Harley: **That right?
> 
> **Asher:** Well, thought we did. Don’t think it’s going to shape up all that well this year.
> 
> **Harley: **Ah, yeah. Your secret little auditorium party, yeah?
> 
> **Dylan/Asher, in shock: **You know about that?!
> 
> **Harley: **Boys, my entire job is to know the status of that school day in and day out –
> 
> **Dylan: **I thought it was to clean.
> 
> **Harley: **Tip of the iceberg, Orlando.

That seems to blow Dylan’s mind. His expression conveys as much as he tries to process it, while Asher awkwardly apologizes for any trouble their tradition might have caused. But Harley waves him off. He says he’s not against a little holiday cheer, nor the harmless tomfoolery that might accompany it. He’s no stranger to tomfoolery.

Neither is their ringleader, he knows. And given that they’re locked out in the cold, Harley guesses that Lucas must not be helping the endeavor this year. They agree, in vague terms, but explain that it almost makes them feel like they need to make it happen even more so.

> **Harley: **I’m not arguing with that. Truth be told, Lucas reminds me a lot of myself when I was your age. Good ideals, less than ideal circumstances, always looking for the quick thrill or easy way out. Need a good distraction, you know?

Asher and Dylan exchange a look. Sounds about right.

> **Harley:** Only difference is, I was kicking it all on my own. Wasn’t great about keeping friends, and the ones I had weren’t true blue. So I ended up making all the wrong turns.
> 
> **Asher: **I’m sorry to hear that.
> 
> **Harley:** Oh, hey, don’t go feeling sorry for me. I’m old, I hardly need the sympathy, save it for your friends who need it. And to be honest, I’m lucky. I’m lucky to have ended up where I did, all things considered. But sometimes I do think about what I might be doing now, had things gone differently. _[ a beat ] _If Lucas has friends like the two of you in his corner, looking out for him, then he’s already far better off than I was.
> 
> _[ Dylan smiles. Asher thinks on it, then shrugs. ]_
> 
> **Asher: **Well, we love him.
> 
> **Harley: **I’ll tell ya, he knows. And it means more than either of you will ever fully know.

Could just be the random musings of their kooky school janitor, but he speaks like he knows what he’s talking about. And Dylan and Asher want to believe it. It’s a good reminder as to why they set out to do this crazy thing in the first place.

Harley sits up, asking if the boys will do him one favor before he heads out. He requests that they apologize to Lucas on his behalf, on account of the whole “pest” situation in the booth. He was just doing his job, but he didn’t realize there would be such immediate ramifications. He never meant for him to get the boot.

> **Harley:** I’m sure it’s no fun to be put out of what you considered home, ‘specially if you were desperate enough to make that your home in the first place.

Asher and Dylan nod along, more than happy to pass on the message. Harley gives them a smile and a warm farewell, wishing both of them the best of luck and happy holidays.

**Song Cue ♫ ♪ “Making the Plane” as scored by John Williams for _Home Alone_ || Instrumental**

By the time he’s out of the pew, Asher notices he left behind a few of his keys. He holds them up, calling after him.

> **Asher: **Um, Harley, sir, you forgot your keys.
> 
> **Harley:**_[ without looking back ]_ No, I didn’t.

Asher frowns in confusion, glancing down at the keys in his hands. It hits him at the exact same time it dawns on Dylan, the two of them locking eyes with their jaws dropped open.

Bingo.

**EXT. NEW YORK STREETS - NIGHT**

Dylan and Asher are tearing across the street again, holding hands for balance as they dart their way back towards AAA.

**EXT. AAA - BACK ENTRANCE - NIGHT**

Dylan slides up to the doors first, Asher tossing him the keys. He unlocks the door and lets out a muted cheer, holding the door open for Asher to run through. Then he leaps in after him, glancing over his shoulder and shutting them inside.

**INT. AAA - HALLWAY - NIGHT**

The halls are dim, the building shut down for the holidays. Only the emergency lights are still on, providing enough light for Dylan and Asher to see as they peer over the windows in the doors to the auditorium.

This, they don’t have the keys for, so they’ll have to improvise. Asher digs in his pocket and retrieves a paper clip, bending it backwards until it’s usable as a lock pick.

> **Asher: **We’ve spent enough time with Lucas in the last three years, this’ll be a snap. All we have to do is –

Asher curses to himself, accidentally pinching his finger while attempting to pick the lock. He sucks at the blood bruise on his finger, Dylan delicately taking the paper clip from his hands.

> **Dylan:** Maybe I should try?
> 
> **Asher: **Yeah, okay.

Like techie dad, like techie son. Dylan is successful in picking the lock, ushering Asher inside.

**INT. AAA - AUDITORIUM - NIGHT**

The ghost light illuminates the stage until Dylan flicks on the lights, Asher wandering to the center of the stage and spinning around. The decorations could be anywhere in the auditorium, and they’ve only got **90 minutes** left.

Dylan points out that the decorations have to be in the booth. Where else would Lucas put them? Asher acknowledges the likelihood of this, but Harley didn’t give them the key for it. Before they go to the effort of picking another lock, he thinks they should phone a friend.

Asher dials, waiting impatiently for them to pick up. Dylan continues to wander around the stage, looking for other possible alternatives.

> **Asher: **Jeff? Are you there?

**INT. JEFF’S HOME - KITCHEN - NIGHT**

Jeff is seated at the counter in his kitchen, his family just off-screen. They’re clearly in the process of making holiday snacks, Jeff just taking a bite of a frosted sugar cookie as he answers the phone.

> **Jeff: **Ash Cash Money. What’s up? How goes saving Christmas?

Asher claims it’s fine, and Jeff goes on to state that he’s got hella good cookies for the party… if they manage to pull it off. Asher claims they will, as Dylan gesturing to a theoretical watch gets him back on track. He questions if Jeff knows whether Lucas hid the decorations in the booth, which Jeff confidently denies.

> **Jeff:** There’s no way they’re in there. I didn’t see them all year, and that booth is not that big. I would’ve seen them if they were there.
> 
> _[ Asher gives Dylan a shake of his head. Dylan sighs, running his hands through his hair exasperatedly. ]_
> 
> **Jeff: **Besides, Lucas’s whole thing was that he wanted to put them somewhere where nosy performers or administrators wouldn’t find them. If they were looking, like you guys, the booth is the first place they would check. He made a point of not being obvious.
> 
> **Dylan:** Damn that beautiful Grinch.

Asher thanks Jeff, before Dylan cops the phone and asks if he would be willing to pick up Dave and Jade and help with the tree. The roads have cleared up, and they’ll be coming from the same area. He and Asher could do it, but they’re running out of time.

> **Dylan: **Besides, there’s the whole thing of the pine needles, and you know how Asher gets about messes. We’d be picking needles out of my Jeep for like a year.
> 
> **Jeff: **Yeah, yeah, whatever. I’m on it. Good luck, gays.

**Song Cue ♫ ♪ “Attack On the House” as scored by John Williams for _Home Alone_ || Instrumental**

Dylan salutes on instinct, hanging up and handing the phone back to Asher. The two of them are at a loss, not sure where to look next. There’s way too much ground to cover with the time they have remaining.

> **Dylan: **Well, you know what we have to do, don’t you?
> 
> **Asher: **What?
> 
> **Dylan, boldly: **We’ve got to think like Lucas.
> 
> **Asher: **_[ making a disturbed face ]_ … I don’t wanna.

Dylan declares that it’s the only way, rushing over to stand with him and taking his hands. He takes a deep breath, claiming that they’ll use the same practices as that exercise stretching thing Asher makes them do.

> **Asher: **… you mean Kundalini yoga?
> 
> **Dylan: **Yeah! Except instead of channeling the greater cosmic energy, we’re… channeling the energy of our demonic best friend.
> 
> **Asher, wearily: **We’re gonna get possessed.

Still, it may very well be the only way. Dylan instructs him to close his eyes, both of them letting out a deep breath. They release hands as they each begin to pace, eyes still closed. They’re channeling Lucas… thinking like Lucas…

> **Asher:** I’m… thinking loyal. Unapologetic. Weirdly flirty.
> 
> **Dylan: **Sounds about right.
> 
> **Asher: **I’m… dressing badly. Need a haircut.
> 
> **Dylan: **Repressing my emotions –
> 
> **Asher, sharply:** No regard for other people’s feelings –
> 
> **Dylan: **… well, at least we’re being honest.

They continue the exercise, gearing their train of thought towards where Lucas would hide something. Dylan takes the reins.

> **Dylan:** I’m… definitely still keeping it in the auditorium.
> 
> **Asher: **Definitely.
> 
> **Dylan:** I’m not sure I even actually know any other part of the school, even though I complain about it ninety percent of the day. I might have a crush on the auditorium.
> 
> **Asher: **Complaining is definitely on the right track.
> 
> **Dylan:** I’m thinking… costume loft. There’s so many other bags and things in there, no one would notice –
> 
> **Asher:** But no, I wouldn’t. Because that’s where people go to hook up, and –
> 
> **Dylan/Asher, in unison:** I’m scared of all forms of intimacy!
> 
> **Dylan: **Good catch, good catch.

Another failure, another chance to try again.

> **Asher: **I’m thinking… maybe the prop loft?
> 
> **Dylan: **No, nope I wouldn’t do that. Because I know Asher would find it, and he’d get so distracted with trying to organize it that he might overdo it and we might have to end up getting a bunch of new decorations anyway.

Asher pauses, opening his eyes and giving Dylan a look. Dylan tilts his head at the quiet, peeking to look at him and catching the expression on his face.

> **Dylan, quickly: **But his boyfriend Dylan Orlando would _love_ it if he did that!

Asher sneers, shaking off the moment and redirecting his focus. He heads to the center of the stage, doing another 360 turn and shrugging. Dylan drifts over to join him.

> **Asher:** Lucas wouldn’t go beyond the auditorium, but he wouldn’t do something like the dressing rooms where the performers dominate. And we’ve considered like every main techie locale.
> 
> **Dylan:** Then where else? All there is left as a possibility would be –

Realization dawns on them once again, Asher frowning. Slowly, the two of them lift their gaze to look above them, where the catwalk hangs so high above them.

> **Dylan:** _Damn_ that beautiful Grinch.

The two of them make their way over to the stairs to the catwalk, a small nook by the dressing room doors that is fenced off by chainlink. They don’t have the key to this gate either – only Lucas, Isadora, and the faculty do – but there’s enough room between the lower ceiling here and the top of the fence where someone might be able to squeeze through.

Dylan rolls up his sleeves, gearing up to start climbing the chainlink. Asher watches apprehensively as he goes, but just when it seems that all will work out… Dylan gets stuck. He overestimated the size of the gap, and he’s too tall and broad-shouldered to fit. There’s a reason Lucas never climbs over this thing… apart from just having the key, of course.

Another dead end. Dylan hops back down, commenting who would’ve thought he wouldn’t fit.

> **Dylan: **Who would’ve thought my shoulders would be the death of me?
> 
> **Asher: **I could’ve told you that.

Mini thirst moment aside, Dylan claims he doesn’t know what they’re going to do. He’s not going to be able to make it through, and with Asher’s fear of heights there’s no way he’s going up on that catwalk. What a shame, to have gotten this far only to come out with nothing.

Only Asher doesn’t seem like he’s giving up. He approaches the chainlink, lightly touching the metal and glancing up at the climb. They’ve already wasted their entire day, and Harley’s words of wisdom are rattling around in his skull. This is something they _need_ to do.

> **Asher: **Oh, to hell with it. Boost me, I’m going up.

Dylan kneels down to help Asher start climbing, the latter having had his fair share of practice after being friends with Lucas for so long. He has more luck than Dylan, managing to just squeeze through the opening and end up on the other side. When he jumps down and sticks the landing he throws his hands up on instinct, Dylan mirroring the gesture enthusiastically.

Now all there is left to do is go up. Asher approaches the tiny spiral staircase, gulping as he looks up at it. Dylan comes up to the chainlink and watches forlornly from the other side, obviously wishing he could be there with him.

> **Dylan: **You don’t have to do this.

But all Asher can think about is Lucas. So he does. He really does. Asher exhales a sigh.

> **Asher: **Just don’t let me look down.

**INT. AAA - CATWALK - NIGHT**

Asher emerges nervously from the stairs, eyeing the catwalk stretching across the stage before him. It seems to go on forever. Already, he’s starting to feel a little woozy.

Dylan pulls him out of it, jogging out of the wings and onto the stage so that he’s underneath him. For every step Asher takes, he takes one with him. With him in spirit, even if he can’t be there to hold his hand in person.

> **Dylan: **You got this. Just focus on walking. One step at a time. Walking and breathing.

Asher nods, keeping his eyes straight ahead of him as he carefully steps out from the platform and onto the suspended catwalk. He swallows, letting out another nervous breath as he takes another step.

Dylan aims to keep him distracted, finding other things to focus on.

> **Dylan:** Let’s think about something else. Think about… production design for the spring production. Or, uh, what you’re going to eat first at the party. _[ a beat ] _Count backwards from 453 by 7.
> 
> **Asher: **Dyl…
> 
> **Dylan: **I’m serious, it’s harder than it sounds. But okay, sure, no math. Think about Dave’s catastrophic disaster area of a locker – no wait, _don’t_ do that! That’ll just make you more stressed.

Asher is hardly listening to what he’s actually saying, but it’s clear just hearing his voice is helpful. He’s down to crawling at this point and his eyes are basically screwed shut, but he’s still moving. That’s not nothing.

About halfway across, Asher opens his eyes and squints towards the opposite end where the catwalk bookends. From what he can make out, there seems to be a lump of some kind tucked away in the rafters that could very well be a bag of decorations…

Energized by potential success, Asher scrambles to the other end and drops down in front of the bag, pulling it towards him. To his relief, all of their decorations from last year are tucked inside.

> **Asher: **I got it! Dylan, I found them!
> 
> **Dylan: **You did?
> 
> **Asher: **I did!
> 
> **Dylan: **Hell yeah, paramour!

Asher and Dylan negotiate how to get the thing down, certain there aren’t any breakables that might get destroyed if he drops it. He lowers the bag as far as he can without looking, letting it go. Dylan catches it easily, dropping it at his feet and assuring Asher that he got it. Now he just has to come down and they’re set!

And with **1 hour** to spare. It’ll take them half of it to get the groceries and make it to Lucas’s, so not too shabby. Asher nods and climbs back to his feet, making a much quicker trek back across the other direction.

However, Asher’s lack of catwalk experience leaves him unaware of the rickety rung. There’s one specific rung connecting two pieces of the catwalk that’s not as stable as the others – not a true threat as it’s still highly secured, but it can sure cause quite a disturbance if it’s jostled.

Which is exactly what happens. Asher accidentally knocks his boot against the rung, causing the whole catwalk to groan and tremble in response. It feels like the whole thing is going to come apart and Asher freaks, dropping down to his hands and knees and accidentally sending a spare wrench off the side off the catwalk towards the stage.

> **Asher: **Dylan, look out – !
> 
> **Dylan:** Ash!

Dylan ducks out of the way, narrowly avoiding being hit by the falling wrench. But he’s hardly concerned about that. He’s far more concerned about how Asher has totally stopped moving, frozen in fear and huddled in the middle of the catwalk. He’s making himself as small as possible, screwing his eyes shut.

> **Asher: **Shit, shit, shit –

Dylan jogs back under the catwalk, trying to get a better angle on what’s going on up there.

> **Dylan:** Ash! Asher, are you okay?

Asher isn’t exactly equipped to answer. He’s on the verge of a panic attack, hands trembling and breathing uneven. Dylan stares up at him, their original mission long forgotten.

> **Dylan: **Ash…

Tentatively, Asher opens his eyes. He can make out Dylan staring up at him through the metal of the catwalk, but the distance from where he is to the ground is way more gripping. He winces and closes his eyes again, shaking his head.

> **Asher:** … just go.
> 
> **Dylan:** What?
> 
> **Asher: **Go on without me. You’ve got the decorations. It’ll be fine.
> 
> **Dylan: **You’re out of your mind, I’m not _leaving_ you here.

Asher claims he has to. For Lucas, and so they don’t owe Nate 15%. Because they’ve wasted all this time, and now his anxious ass is going to blow it. They’ve gotten this far, and he’s not going to be the reason they don’t make it. But Dylan isn’t hearing it.

> **Dylan: **Look, screw Nate and screw the mission, alright? Asher, I’m not leaving you here alone. I’m not going anywhere.

Hard to argue with that. Asher exhales another harsh breath, trying to get control of his breathing. He’s had panic attacks before, he knows he’ll survive it. He just has to breathe.

Dylan tells him he’s going to be with him the whole time, and that they’re going to get him down. He doesn’t even have to open his eyes, he just has to be willing to move. Dylan will talk him through the rest.

> **Dylan:** If anything happens, you know I’ll catch you.
> 
> **Asher:**_[ exhaling a nervous laugh ] _Then we’ll both be dead –
> 
> **Dylan: **No one is dying. No dead boyfriends for Christmas, remember?

It’s hard to find humor in such a bleak situation, yet somehow Dylan manages. Asher exhales another shaky laugh, still not opening his eyes but less petrified than before. Dylan smiles.

> **Dylan:** I’m with you, Ash. I got you. But you have to move.

So… he does. A little bit. Then a little bit more. He’s completely trusting in Dylan to make sure he’s on the right track, eyes still closed as he gives him encouragement and guidance from below. It’s clear that the two of them are experts at communicating with one another, knowing exactly what to say or how to react to each other.

When there’s only a few more steps left, Asher has made it back to a crouch. He tentatively opens his eyes, and seeing the end so close, scrambles up and makes a mad dash for it. He lands on the platform to the stairs with an exhausted sigh, Dylan cheering for him from down below.

**INT. AAA - AUDITORIUM - NIGHT**

Asher manages to propel himself through his final escape from the catwalk, handling it on his own until he’s climbing back over the chainlink. He loses his grip with shaky hands and slips off the other side, but as promised, Dylan is there to catch his fall. He holds him around the middle and pulls him back a comfortable distance from the fence, giving both of them the chance to breathe.

Then Asher straightens up, turning around just in time for Dylan to take his face and pull him into an enthusiastic kiss. When they pull apart Dylan can’t stop grinning, still holding his face and looking at him proudly.

> **Dylan:** Asher Garcia, _you_ are the most badass person I know. And you just saved Christmas.

Well, not quite yet. They’ve got just about **30 minutes** left, so they better book it.

**Song Cue ♫ ♪ “We Wish You A Merry Christmas” as scored by John Williams for _Home Alone_ || Instrumental (first 40 seconds)**

Dylan sprints to the stage and grabs the bag of decorations. Then he takes Asher’s outstretched hand, the two of them hitting the lights and dashing out of the auditorium as the music once again swells to accent their frantic travel.

**EXT. NEW YORK STREETS - NIGHT**

One more sequence of the two of them racing through the snowy streets on Dylan’s skateboard graces the screen, Asher still holding on for dear life. Snow continues to fall in flurries around them, as the soothing tones of Hugh Martin float in…

**INT. LUCAS’S APARTMENT - LIVING AREA - NIGHT**

**Song Cue ♫ ♪ “Have Yourself A Merry Little Christmas” as performed by Hugh Martin for _Home Alone_ || Instrumental**

Given that we’ve seen the arrival before, we know how that bit goes. Instead, we jump to the party in full swing, Jade and Jeff focused on decorating the tiny tree while Dave chats with GRACE FRIAR in the background.

Nate passes Asher seated in front of the couch, giving him a pat on the shoulder and sharing props for pulling everything off. Asher nods, accepting the praise.

Dylan appears next to him a moment later, plopping down with a sigh and a plate of holiday treats. He hands one of the cookies to Asher and throws an arm around his shoulder, pulling him close. Even though their appearance feels more worn and ragged than the first time we saw them arrive to this party, it’s evident how warm and happy they are.

Dylan lightly pokes Asher in the ribs, asking if he has any idea how proud of him he is. Asher kind of brushes him off, but Dylan isn’t letting him shirk the compliments.

> **Dylan:** I mean it. I know we did a lot of wacky stuff today, a lot of which you weren’t exactly comfortable with. I mean, we broke into the school. And you went up in the _catwalk_, dude.
> 
> **Asher:** Trying to forget those details, yeah.
> 
> **Dylan: **Well, I’m never going to forget it. And you know, everything you’ve already given to help Lucas… just proves what a good friend you are. I’m proud I get to call you that… _[ another nudge ] _and more.

Asher grows shy at the sincerity, lightly nudging him back. But he decides he has something to say too, holding Dylan’s hand that’s draped over his shoulder.

> **Asher:** Well, you know, the only reason we did any of it was because of you._ [ off Dylan’s dismissive shrug ]_ I’m serious. All of it was your idea, and every time we hit a road block you were the one who found a solution. It was _your_ loyalty that motivated you to suggest we give it a shot in the first place.

Dylan’s turn to be bashful – something only Asher Garcia can really accomplish. He dips his head down, trying to hold back his smile. Asher waits for him to meet his eyes again.

> **Asher: **You never lose faith. That’s one of my favorite things about you._ [ a beat ] _That’s why I love you.

After a moment, Dylan breaks into a soft beam. He leans forward and gives him a peck on the cheek, Asher grinning and turning it into a quick kiss on the lips.

They pull back as Lucas enters the frame, plopping down on the floor next to them in front of his mom on the couch. He offers them something from his own plate which they eagerly take, the three of them engaging in easy conversation. Sharing the holiday together, bringing brightness to their best friend’s life, who they worked so hard to pull this off for.

And from how cozy and loving the Friar apartment suddenly feels, clearly that effort is always worth it.

** _END OF SPECIAL._ **

* * *

**Song Cue ♫ ♪ “We Wish You a Merry Christmas” as performed by John Denver & The Muppets || Performed by Asher Garcia, Dylan Orlando, Nate Martinez, Jade Beamon, Dave Williams, and Jeff Monroe**

To close out the special and accompany the credits, our six supporting technicians close out with this silly classic. They’re all wearing cute holiday sweaters, Dave has some Rudolph antlers. Dylan is wearing garland like a scarf again, and plays the lead guitar. The jokes and interjections are more suited to their characters than Muppets version, although Dave takes the “Animal” bit and gets too excited and starts shouting about not going so Nate has to bring him back to Earth.

We wish you an ambitious merry Christmas, and a happy techie New Year!


	10. Trapped [ 2.06 ]

**Summary for the Chapter:**

> NOWHERE TO HIDE – Forced together for a group assignment, a surprising collection of students find themselves locked in the school as a snowstorm hits Manhattan. Emotions bubble to the surface when there’s nowhere to run. Farkle makes an overdue apology. Lucas finally lets go.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )
> 
> **CHAPTER CONTENT WARNING:** discussions of death, mild suicidal ideation. Take care of yourselves and read with discretion.

**INT. AAA - AUDITORIUM - DAY**

**Song Cue ♫ ♪ “Revolting Children” as performed by _Matilda_ Original Broadway Cast || Performed by Maya Hart, Riley Matthews, Zay Babineaux, Farkle Minkus, Isadora De La Cruz, and Lucas James Friar**

A spotlight beams into the camera, obscuring our vision until a shadowed, angled shot of MAYA HART belting out the opening note of this Broadway tune fills the screen. She carries us through until the rest of the ensemble joins in, each of the other performers spinning to face the front of the stage as the camera pans past them.

ZAY BABINEAUX, in a crop top and rehearsal sweats and looking somewhere between determined and irritated. RILEY MATTHEWS, sporting a new look with her hair cut just above her shoulders and doing her best to keep up with the divas – mostly just not to add anymore hiccups to an already stressful performance.

FARKLE MINKUS, wearing the world’s frumpiest cardigan and looking worse for wear. His hair is an absolute flyaway mess, his clothes are wrinkled. He does the steps listlessly, going through the motions rather than putting any energy into it. ISADORA DE LA CRUZ, finally keeping up with her performing peers but aggravated from the general bad mojo of the group and hair pulled back out of her face with a dark scrunchie.

Then, yes, LUCAS FRIAR. Snapback on, brow furrowed, looking overwhelmed and confused as he attempts to sing and dance along with his classmates. Sticking out like a sore thumb, but in attendance and participating even though it goes against every fiber of his being.

It’s a wild sight to behold. The six of them don’t give a _horrible_ rendition of the number, but it’s rough and unrehearsed. Everyone aside from Maya and Zay fumbles with the choreography – or in the case of Lucas, drops the ball entirely. This lack of precision is what prompts the _“Come on!”_ from Zay about 2 minutes in, an outburst of exasperation rather than a rallying cry.

When Isadora _“takes out her hockey stick and uses it as a sword,”_ she grabs a prop and literally takes a swing at Lucas. He ducks just in time, giving her an incredulous scowl and holding out his arms in indignation as the song continues. Maya almost trips over Farkle when he takes too long to get to his next mark, glaring at him and performing more aggressively in compensation.

They’re not the only ones playing bumper cars. Riley and Lucas ram into one another, the latter stabilizing the former before immediately brushing past her and getting as far away as the choreography will allow. Riley is stunned frozen for a few moments, literally having to shake off the daze and frustration.

The whole thing comes to spectacularly disastrous finish, Lucas tripping over his own feet and ramming into Riley. He manages to catch her as they both go sprawling to the ground, causing Isadora to trip as well and accidentally push Farkle. Maya just barely manages to avoid the destruction, scrambling out of reach as Farkle face plants into the stage.

Close on Zay’s frustrated expression, at his wits end.

> **Zay: **You’ve got to be fu – !

* * *

** _Cue title sequence._ **

**INT. AAA - AUDITORIUM - DAY**

We come back on a bloody tissue, pulling back to reveal Farkle dabbing at his lip. He doesn’t seem all that perturbed by the injury. Isadora is in the process of helping patch up Riley from their tumble, Lucas pacing a few steps away and not even bothering to fix his own scrapes.

Zay and Maya are doing most of the talking, arguing about the choreography and whether or not they’ll be able to pull it off. Zay claims that these are incredibly _simple_ steps that any mediocre performer with a shred of coordination could pull off, but as Maya points to the rest of them recovering from their inability to do just that, clearly they need something different.

> **Maya: **Sorry, but I’m not going to fail this assignment just because y’all over there can’t get your shit together.
> 
> **Lucas: **Bold of you to assume we’ll ever get anything right considering this is the absolute _worst_ possible combination of people to be in a group together.

Farkle and Isadora both make faces at that – he might have a point. Zay tells Lucas to speak for himself, before stating that they’ll obviously just have to stay after school and rehearse more. No one seems thrilled about this, not to mention there might be logistical issues.

> **Riley:** Is the school even going to be open? It’s supposed to start snowing after lunch.
> 
> **Farkle:** And? It’s New York. What’s your point?

Hard to argue with that. The matter is settled, and they’ll be regrouping after school to give it another go. As the group of them begrudgingly head out, Riley tries to catch Lucas and offer some help since he’s definitely the weak link in this chain.

> **Riley:** I can try and help you with the –
> 
> **Lucas:** _[ without looking at her ]_ No.

He brushes past her, Riley taking a deep breath. Keeping her cool, not letting it get to her. It’s a stressful situation, one that none of them want to be in at that moment.

Still, the show must go on…

**INT. AAA - HALLWAY - DAY**

The bell rings, signaling freedom for the end of the school day. Farkle is alone at his locker, Isadora hanging down the hallway a few feet and observing. She finally works up the nerve to approach, tentatively kicking up a conversation with him. Bonkers, how this project is going, huh? Been a while since they worked together. How was Hannukah?

Farkle stares at her, blinking as she continues to throw polite questions at him. He doesn’t seem interested in having a conversation.

> **Farkle:** _[ interrupting her ] _Smackle. Isadora.
> 
> **Isadora: **Yeah, yes. Yeah?
> 
> **Farkle: **What are you doing?
> 
> **Isadora: **… just… striking up conversation. Project partner to project partner. It’s a shame you weren’t at Riley’s holiday party there was… lots to discuss. We missed you there.

A lie, and Farkle knows it. He points out that he wasn’t invited, which seems odd to Isadora. But he questions her presence there before she can question his absence, following up with a query of his own.

> **Farkle:** What about that little illegal techie party that happens every year that you think is a big secret but everyone knows about?
> 
> **Isadora: **_[ ignoring his sarcasm ]_ Oh, yeah. Well… didn’t end up panning out this year. Scheduling conflicts, you know?
> 
> **Farkle, flatly: **Tragic.

He closes his locker, curtly thanking her for the pity friendship. She tries to refute this take but Farkle is already walking away, snapping at her not to be late to rehearsal because he just wants to go home and go back to bed.

> **Farkle: **Maybe then I’ll wake up from this nightmare.

**INT. AAA - HALLWAY - DAY**

Riley is with Maya, the latter opening her locker and glancing at her reflection in the mirror. She’s obsessively touching herself up, fixating on her appearance given that it’s one of the few things she can control.

> **Maya: **This is a living nightmare.

Riley is distracted, finishing typing a text on her phone. She cheerfully confirms that she let her father know they would be late at school for rehearsal.

> **Maya:** I didn’t realize we needed to give him a play-by-play? Does he want to know what I ate for lunch, too?
> 
> **Riley:** … it’s just common courtesy?

Maya rolls her eyes, obviously not in the mood for courtesy. The exchange makes one thing very clear, however, which is that Riley and Maya had _very_ different upbringings. Whether this will make for them being good roommates, well, only time will tell…

As they begin walking to the auditorium, Riley gently suggests that Maya take it easy on Lucas. Like yeah, he’s not good, but he’s also not a performer. She could afford to cool it on how critical she’s being, and then maybe he’d be able to come around.

> **Maya:** I don’t see him ever coming around. You need talent to do that.
> 
> **Riley: **Okay, but I’m just saying –
> 
> **Maya:** I’m not going _easy_ on anyone, least of all Jackass Friar. And you know, Riley, I hate to say it, but it’s a little pathetic that you’re still out here defending him when he’s made it quite clear that he doesn’t care about _anybody_ but himself.

Ouchie, Miss Maya. Riley absorbs the blow, letting Maya walk ahead of her and blinking off the daze of the hit. It’s obvious that Riley doesn’t believe that, but the more people continue to say it to her like she’s being an idiot…

She lets out a huff, jogging to catch up to Maya.

> **Asher, pre-lapping: **So how goes rehearsal?

**INT. AAA - HALLWAY - DAY**

Lucas is at his locker, stuffing his bag into it unceremoniously. ASHER GARCIA watches with pity for the poor backpack receiving all his aggression, DYLAN ORLANDO standing behind him and leaning over his shoulder.

> **Lucas: **God awful. You’re more than welcome to shoot me on sight, I would consider it a mercy kill.

Dylan claims that he’s totally jealous, because he wants to see Lucas pull off some sick moves. He shoots him a glare, obviously not in the mood to be complimented. Asher encourages him to keep his chin up, reminding him that it’s just another week and by the time they hit Friday it’ll be onto the next thing.

> **Lucas: **And the next week, and the week after that… thanks Asher. That’s exactly what I needed, to remember that my torture in this circle of hell is continuous and cyclical.
> 
> **Asher:** _[ rolling his eyes ]_ You know that’s not what I meant. Look, you’re doing exactly what Burgess told you to do, keeping your head low and falling into line –
> 
> **Dylan, forlornly:** God, this must be killing you.
> 
> _[ Lucas makes a face at Dylan, accenting the point. Asher plows onward regardless, upholding his optimistic outlook. ]_
> 
> **Asher:** And right now, that’s all you can do. But this too shall pass. You know, one day, we’re going to look back on how stressed we were about all of this stuff, and it’s gonna be hilarious because we’ll realize that none of it really mattered. What mattered was that we got through it, and we got through it together.

Even if Lucas isn’t convinced, Dylan is charmed by his boyfriend’s positive outlook. He smiles as he talks, leaning over to kiss him on the cheek when he finishes his thought. Then he follows up on the idea, pointing out that they thought the techie party was dead too and they managed to get through that. And it ended up being great in spite of the darker moments. So Asher is right.

A nice sentiment, but a confusing tidbit for Farkle to overhear as he passes through the hall. It seems like news to him considering what Isadora literally just said about the party being cancelled, but not like it’s any of his business. He keeps walking without comment.

Lucas is placated enough for now, nodding in acquiescence. He closes his locker, turning his focus to them and questioning how their rehearsal group is going.

**INT. AAA - HALLWAY - DAY**

CHARLIE GARDNER responds to the same question in lieu of Dylan and Asher. They’re by his locker, Zay leaning against the rows and listening attentively as Charlie laments his own group.

> **Charlie: **Exhausting. I mean, don’t get me wrong, Nigel and Yindra are mega talented. And Yogi is… well, he brings a certain special something to the table.
> 
> **Zay:** Sure.
> 
> **Charlie: **But it’s just a lot, working in such a big group and trying to cooperate when there’s no clear leader. Not to mention how weird it is that they mixed up the performers and techies like this – not that I’m like, a separatist or anything_ [ Zay snorts ] _but it just seems like a complicated aspect to the assignment. And Asher and Dylan keep _looking_ at me, like they’re expecting something out of me, and then when I catch them looking they immediately look in the complete opposite direction which is _not_ subtle and just makes me way more freaked out.

Zay gives him a sympathetic smile, Charlie closing his locker pointedly.

> **Charlie:** Suffice to say, I am grateful that we’re not bothering to rehearse any more today. I would rather do anything else.
> 
> **Zay:** Wish that were me. I’m gonna be stuck here for hours teaching Friar how to dance with two left boots.
> 
> **Charlie: **Yeah, good luck with that. You’re good, but you’re no miracle worker.

Zay scoffs in faux offense, causing Charlie to laugh. This earns an immediate smile from Zay, who then questions what his evening plans are. Charlie shrugs, admitting that he doesn’t have many before clearing his throat and growing a little more bashful.

> **Charlie: **Although… some all-you-can-eat fries at my favorite diner might be a good way to destress…
> 
> **Zay:** _[ raising his eyebrows playfully ] _Yeah?
> 
> **Charlie: **Well, this guy I know gave me a coupon, so…

It’s a lowkey flirtatious conversation to be having in the middle of the hallway, and the way they’re looking at one another is not subtle. Nice growth, boys. Proud of you.

Zay states that he could probably make that work, given that they can’t possibly hang around and rehearse their pointless number forever. He’ll be sure to text him and let him know when he’s heading out, and he’ll come pick him up.

It’s a date, then. In theory. As the conversation wraps up and they promise to see each other later, Zay leans forward and almost gives Charlie a kiss on the cheek on instinct. It’s so natural between them that he almost doesn’t pull back… until he remembers they’re in public and he suddenly flinches away.

An awkward moment passes between them as they lock eyes, the realization sinking in again that this is what their relationship is. Wonderful in so many important ways, and then… that. Charlie recovers first, managing a smile and patting his shoulder. He reiterates that he’ll see him tonight, accenting the point with a nod.

The message is clear. _It’s okay, we’re in love, just… not here_. Zay struggles to return the smile, obviously stung by that unexpected reminder.

**INT. AAA - AUDITORIUM - DAY**

Maya and Riley arrive back in the auditorium first, not talking much given that the former is in queen bitch mode and Riley is still sort of stinging from her earlier commentary. Zay enters next, glued to his phone and not bothering to look up as he drifts over to join them by the portable speaker.

Farkle saunters his way in, glancing in their direction and making fleeting eye contact with Riley. He opts to sit alone, plopping down on one of the acting blocks. Lucas follows soon after, eyeing all of them without comment before heading to the opposite end of the stage and settling on the lip of the stage.

Isadora is the last to straggle through the wings, surveying the scene and contemplating where to go. Maya waves her over before getting lost in the sound system again, but Isadora can’t stop looking at Lucas sitting on his own and isolating himself from the rest of them. So she opts to head in his direction, sitting down next to him instead.

She makes a playful comment about how she’s impressed he actually showed up, and while it was innocent Lucas sort of takes it personally given how off their communication has been as of late and how he’s still bruised from Harper’s takedown of him earlier in the year. So he bites back, defending himself and commenting on the stupid assignment and how he’s just trying not to derail all of them although there’s no place he’d rather be less.

Isadora nods along, but she’s clearly not in the mood for his negativity. She apologizes, stating she should’ve just not said anything. Lucas recognizes she didn’t mean it, starting to say something to try and salvage the exchange when Zay claps his hands loudly.

Up and at em, then. Time to get this trainwreck back on the tracks. Five, six, seven, eight –

* * *

**Song Cue ♫ ♪ “Revolting Children” as performed by _Matilda_ Original Broadway Cast || Instrumental**

If it’s possible, things are even worse than before as the hours pass and they run the routine over and over again. It all starts to run together, the motion blurring and overlapping. The soundtrack almost sounds like it’s skipping, repeating itself as they hypnotically repeat and screw up the choreography again and again.

Zay is clapping along aggressively with the track, counting out the beats and drenched in sweat by the time they’re on their dozenth or so run through. He’s less forgiving than usual after the weird moment with Charlie. But the fact of the matter is, Lucas _isn’t_ going to get this choreography. It’s just not happening.

The point is made as much when he stumbles into Zay during another run, the latter growing aggravated and lightly pushing him away. This develops into a half-serious shoving match between the two of them, Isadora having to jump in between them.

> **Isadora: **HONESTLY. COULD WE NOT?

* * *

Riley jogs to pause the music, the group of them instantly erupting into arguments. After a few opening shots are fired Farkle grows fed up, making his complaints for the first time all rehearsal. And boy, does he have a lot to say.

> **Farkle, bluntly:** Here’s the read. _[ to Maya ] _You’re hogging the spotlight. _[ to Lucas ] _You’re in the way. _[ to Zay ] _You’re so focused on the dancing, you’re off key. _[ to Riley ] _You’re a pushover, now quite literally._ [ to Isa ]_ And _you_ picked this song, which I’m surmising has something to do with whatever internal baggage you’ve got going on right now, but it’s whiny and abrasive and yet _still_ too difficult for Lucas._ [ clapping his hands together ] _So we’re gonna fail! Buh-bye.

Farkle starts to walk away, but Maya grabs his attention again. Riley reaches out and takes his arm, tugging him back into the circle as he rolls his eyes.

> **Maya:** If the song is too hard for you, we can pick another one that you might be able to manage. Maybe… the alphabet song? Twinkle, twinkle, little star?
> 
> **Lucas, weary:** Can we do a song where we just… stand still?
> 
> **Farkle: **Are you sure that’s what you want, Lucas James Friar? Are you sure you want your voice on display like that with nothing to distract the audience from the inhumane _growling_ coming from your end of the stage?
> 
> **Isadora: **We’re doing “Revolting Children” and that’s the end of that. Last thing we need is to change our entire routine now.
> 
> **Maya: **That’s right. And you wanna know why she picked it, Farkle?
> 
> **Farkle**: Why’s that?
> 
> **Maya:** It reminds us of you.
> 
> **Isadora: **_Don’t_ drag me into this shit, I just want us to work this out so we can get it over with.

As the group of them are bickering, Zay marches back to his duffle and begins packing up his things. Riley notices he’s parted from the group first, calling out for him and causing the rest of them to turn on him as he slings his back over his shoulder.

> **Maya:** And where do you think _you’re_ going?
> 
> **Zay: **Oh, me? I’m getting out of here. This is useless, I hate this… _[ gesturing amongst them ] _energy, and I have places and people I would _much_ rather be with right now. So peace out, drop outs. I’m gone.

He starts his march out the doors through the house. Lucas gets in on the uptake, eagerly pointing to him and claiming that if he’s leaving, he’s so out too. The girls exchange looks before basically chasing the two of them out of the auditorium, shouting all the reasons why they can’t leave yet. Not when everything is such a mess!

**INT. AAA - ATRIUM - NIGHT**

Lucas has caught up to Zay, the two of them marching right for the doors while the girls jog after them and tell them to stop. The atrium is dimly lit, none of the natural light filtering in due to how it’s darkened to night outside.

Riley finally gets them to halt when they’re steps from the doors, pleading with them to just give it one more chance. It’s quite a comedically dramatic little scene. She says to think of their performance; Isadora begs them to think of their grades. Maya goes for the most blunt approach.

> **Maya: **Think about not being a pain in the ass to the rest of us!

But Zay has had enough, and Lucas is more than ready to follow his exit. Zay gives them one last salute, backing into the doors and expecting to be able to push out into the night… only the door doesn’t budge. He hesitates, turning and trying again. Nothing. He pushes with all his might, but still it won’t open.

Lucas approaches and asks what he’s waiting for, and Zay defensively claims he’s doing everything he can. As they attempt to figure out what’s wrong with it, Riley saunters her way up to another door and looks through the glass windows to the scenery beyond them.

**EXT. AAA - NIGHT**

Easing out from Riley’s face in the window, we’re looking out towards New York in a winter wonderland. Snow is still falling, having coated the steps and iced around the doors. It’s sealed them in tight.

For all intents and purposes, the six of them are snowed in.

**INT. AAA - ATRIUM - NIGHT**

Isadora blankly states the realization just as it seems to hit Riley, the two of them locking eyes. As this bleak reality settles in, some are less receptive to the possibility than others.

> **Lucas: **Oh, hell no. I’m not going to be stuck in here with you all.

A little ironic, given how much time Lucas voluntarily spends in the school overnight – but understandable given the circumstances. He claims he’s going to push his way out anyway, gearing up to ram at the door with a lot more raw force than Zay…

> **Farkle: **It’ll be your death by frostbite.

The rest of them turn as Farkle finally catches up, slinking casually into the space. He claims Lucas can try all he wants, but even if he manages to get the door open he’ll die of hypothermia walking home alone with nothing but his denim jacket for coverage. Especially in the dead of night. He goes on to plaintively list all the ways this terrain is guaranteed to kill him, the others listening and watching the two of them like a tennis match.

> **Farkle: **But by all means, go ahead and try it. I certainly won’t stop you.

Lucas grits his teeth, glaring at Farkle. He glances back through the windows at escape so close but so out of reach… then definitively steps away from the doors.

Officially stuck. Trapped, if you will. A-wink.

**INT. AAA - AUDITORIUM - NIGHT**

The six of them are sprawled across the stage, laying on the ground and accepting their fates. It’s quite a fun cinematic shot. Farkle stares up at the lights and the catwalk above them – they seem to stare back, unmoved. The whole auditorium is strange with a stillness we’ve never experienced before, usually so alive and bustling in the day time.

They’re very much moping, and there doesn’t seem to be anything to be done about it. Their conversation confirms that service is too spotty due to the notoriously bad reception in the auditorium combined with the storm. They can’t exactly call anyone to come help.

> **Zay:** Well. We’re gonna die in here.
> 
> **Isadora: **Can’t think of another place I’d like to die least.
> 
> **Maya: **At least we’ll be missed.
> 
> **Lucas: **Maybe some of you.

Riley frowns, not a fan of the doom and gloom. Getting stuck on being stuck isn’t going to solve anything, and she’s always been a gal of action. She pushes herself to her feet, declaring that they’re going to be fine. They just have to think creatively.

This prompts the rest of them to slowly sit up, Riley leading the charge in brainstorming. First things first, the things they might need most immediately. Food. Hydration. Sustenance.

Farkle tilts his head back and forth, thinking. He half-heartedly suggests the teacher’s lounge, claiming they might be able find some salvageable food in there. Isadora seconds the idea, stating that they definitely have a microwave and refrigerator. There has to be stuff in there to work with – not stuff that _belongs_ to them, but better than nothing.

> **Zay: **Sure, genius move. Only the teacher’s lounge is 100% locked. How the hell do you suggest we get inside?

A fair point… but perhaps not insurmountable. The group of them think on it… and slowly, all eyes turn to Lucas.

He lifts his head to see them all staring at him. After a moment, he rolls his eyes.

> **Lucas:** Whatever.

**INT. AAA - HALLWAY - DAY**

_Clunk! _A canned beverage falls into the output port of a humming vending machine. Farkle reaches down and picks it up, tucking it under his arm.

He and Maya are on drink duty, painstakingly depositing spare change into the machine to procure beverages for their sad dinner party. It’s a… slow business, feeling even slower considering neither of them know what to say to one another. They haven’t spoken since Maya declared their chapter closed over a month ago, although both of them have evidently thought about it.

Maya is handling the money, at least giving her something to do. But Farkle is being unwittingly distracting, tapping his feet and exhaling through his lips. It clearly irritates the already moody Maya, causing her to snap.

> **Maya: **Stop.
> 
> _[ Farkle pauses. Silence prevails save for the clinking of coins and the operations of the machine… until he inevitably starts fidgeting again. ]_
> 
> **Maya: **Could you stop?
> 
> _[ He raises a hand in surrender, leaning down to pick up the next drink. More silence… but then once again… ]_
> 
> **Maya: **How are you so annoying? Jesus…

Farkle doesn’t hold the same level of irritation towards her as she seems to him, and after another long moment of silence and another drink collected, he decides to try and explore the problem. He questions why she still seems so mad at him, given that most people have simmered down to general distaste or indifference at this point. Even more than that, she herself said she was done with him, so why is she still so upset?

> **Maya:** … don’t flatter yourself.
> 
> **Farkle: **I’m just saying, you’re the only one still actively firing shots at me all the time. In spite of your _own_ declaration that the chapter was closed.
> 
> **Maya:** Yeah, and?

Farkle shifts to leaning against the side of the machine, cradling his growing collection of drinks in his arms. He examines Maya as she continues to ignore him. Then, an attempt at vulnerability:

> **Farkle:** I guess I understand it, actually. With everyone else, you know, it was… everyone else. What I did to you… revealing things that you trusted me with…
> 
> _[ Maya closes her eyes, trying to keep her emotions in check. ]_
> 
> **Farkle, softly:** That’s different. We were different –
> 
> **Maya:** God, Farkle, just stop!

Maya snaps, whipping to face him. She’s clearly operating on emotion when she lashes out again, stating that he can’t just do this. He can’t go all pathetic and vulnerable and expect her to feel bad and like him again. It’s not fair for him to play with her feelings like this. It’s not fair for him to have this kind of effect.

Farkle obviously doesn’t know what she’s talking about, operating with no ill intent. And for what it’s worth, it seems as though Maya is far more torn about what she _should_ be feeling towards him than he is. She’s angry, sure, and she’s hurt, but there’s something else there that keeps the chapter from being closed… something that doesn’t want to let go…

> **Maya:** You can’t keep doing this to me. I can’t keep doing this. Because it’s clear you only care about people when they’re operating in your favor –
> 
> **Farkle:** Maya –
> 
> **Maya: **And you know what, Farkle? You’re not God. You don’t control people, and you sure as hell can’t control me.

Maya drops the rest of the change onto the floor, scrambling to get away from him. She can’t be near him right now, when her emotions are so high and threatening to spill over.

Farkle watches her march off, before crouching down and robotically staring to pick up the change. As the angry guitar licks lead us in…

**INT. AAA - HALLWAY - DAY**

* * *

**Song Cue ♫ ♪ “Playing God” as performed by Paramore || Performed by Maya Hart**

Maya launches into this pop rock vent as she marches through the halls, running her hands through her hair and obviously struggling to deal with her emotions. The number progresses in a very _Troy-Bolton-Scream_ capacity, Maya falling back against lockers and the room feeling as though it’s tilting as she fights to stay on her own two feet.

It’s a change of pace for the usually Broadway / pop classic diva, but in some ways it almost feels more authentic than anything we’ve heard from her yet. It’s raw and erratic, and the shift in genre reflects how conflicted she truly is over whatever her dynamic with Farkle is supposed to be. She keeps saying it’s closed, that she doesn’t want anything to do with him… and yet…

She stomps all through the familiar halls of AAA, until she drifts back towards home base…

**INT. AAA - DRESSING ROOM HALL - NIGHT**

Maya thrashes her way through the dressing room hall, blasting into the dressing room.

**INT. AAA - GIRLS DRESSING ROOM - NIGHT**

This is where Maya rounds out the emotional performance, chewing up the scenery of her safe space at AAA as she rails through the last chorus. When she hits the last notes and _“points you to the mirror,”_ she looks at her own reflection. Overcome with emotion, flushed, but maybe not completely absent of blame in how this relationship has fallen apart.

Difficult to stomach, as the look on her face clearly indicates.

* * *

**INT. AAA - CATWALK - NIGHT**

Unprecedented ground for a performer to be trekking, Zay is climbing around in the rafters up on the catwalk as he desperately searches for service. His messages are open with Charlie, where we can see he has tried to send a couple of texts with no luck. He’s attempting to give him a heads up of what’s going on, rather than just standing him up.

His endeavor isn’t going well, despite how he stretches as far as he can and practically begs the universe to have mercy on him. For a moment, it seems as though he might get a bar… maybe just enough time to send this quick text –

> **Isadora: **What are you doing?

Zay jumps, surprised at being addressed. He nearly drops his phone, scrambling back and cradling it against his chest. He glances down over the rail of the catwalk, Isadora peering up at him with a critical eyebrow quirked in his direction.

He manages to cover smoothly, stating that he’s merely attempting to find cell service so he can get them some help. Someone has to try and get them the hell out of here. Isadora points out that even if he could reach someone, no one is going to come to their rescue in this weather.

> **Zay: **You’re just a cock-eyed optimist, aren’t you, Izzy?

Isadora shrugs. He’s welcome to waste his time if he wants to, she doesn’t care enough to argue the point. Once she’s left him alone and drifted off elsewhere, Zay leans against the railing and checks his phone.

Still no dice. He sighs, cursing to himself and heading back to the other end of the catwalk.

**INT. AAA - HALLWAY - NIGHT**

A quick series of shots show the process of breaking into the lounge – practiced moves with a paperclip, jimmying the door handle, and a swift ID card through the crack in the door.

**INT. AAA - TEACHER’S LOUNGE - NIGHT**

The door slowly creaks open, Riley and Lucas poking their heads into the darkened teacher’s lounge. They exchange a brief look, Lucas pushing the door open more and leading the charge inside while Riley flicks on the lights.

The act of scavenging begins, Riley wisely starting with the cabinets and fridge while Lucas takes his time sorting through the rest of the faculty belongings. He digs through the drawers on the cabinets, finding a lighter, an assortment of utensils, and a lot of spare change. He pockets all of it casually, basically a certified kleptomaniac at this point.

Riley opens the fridge and begins sorting through unclaimed items, gathering them onto the counter or into her arms. Lucas approaches to take a look, Riley explaining her thought process about which ones they can swipe as he leans over her shoulder to observe.

It’s the closest they’ve been in months, that fact seeming to strike both of them in the midst of Riley’s reasoning. They glance at one another when the other isn’t looking, each subtle shift in their expressions worth a thousand words.

As Riley trails off and silence settles over them, Lucas hangs in the close proximity for a second longer before swallowing and nodding. He takes some of the frozen food from the counter and focuses on heating it up, crossing the room to the microwave and putting more distance between them again.

Riley takes a deep breath, collecting herself from the tension of the moment. Although it would be easy to go through the motions and continue on as they have been, when she glances over her shoulder to look at him she can’t keep quiet. She can’t pass up the opportunity to speak to him when she has no idea when she might get one again.

> **Riley: **I’m just going to talk for a second, okay?

Lucas doesn’t respond, keeping his back to her. But he doesn’t tell her off either, which is better than an outright rejection. She can’t see his reactions as she speaks, but she works up the courage to say what she needs to say anyway.

> **Riley: **You don’t have to listen, and I know you won’t believe me. But I never… I never meant to hurt you._ [ a beat ]_ It wasn’t about pity for me.

Although she can’t see it, Lucas is in fact listening. He’s listening, and her words do hit him in a way he wasn’t expecting. Whether or not he believes it, just hearing her say it sands down some of his defensive sharp edges.

Riley starts to ramble, explaining that the whole video was projecting from Farkle’s perspective. She definitely didn’t sign off on anything he said, but that’s not what she cares about really anyway. She just really wanted him to know that when she chose to hang out with him, it was her choice. Just as she’s stammering over _why_ she chose to do just that, Lucas interrupts her.

> **Lucas, timidly:** We weren’t bad, were we?

Riley stops cold, honestly not even sure he actually spoke. He’s still not looking at her, so it’s a bit difficult to tell for certain. He clears his throat, searching for the words. His hands are shaking on the countertop, his voice delicate with uncertainty.

> **Lucas:** I know we weren’t… _[ shaking his head ] _it wasn’t perfect, but…

She knows what he means. Riley can’t help but smile, but there’s an ache to it, too. Everything about it aches.

> **Riley, softly: **We were good.

The sentiment hangs in the air between them. Comforting, even if everything else remains uncertain. Lucas lets it sink in, nodding and swallowing hard. Clearly grappling with a lot of emotion, even if Riley can’t see it.

Then he clears his throat again, grabbing the finished food and giving Riley rushed instructions on how they should handle the rest. He makes his escape, brushing past her and disappearing out into the hallway without another word.

Riley watches him go, inhaling another shaky breath. She makes her way over to the microwave, trying to follow through on his directions and shake off the tension that consumed the room.

But she can’t escape it. She drops the food container back on the counter, closing her eyes and composing herself again. When she looks over her shoulder at where he left, her eyes are shining with unspoken emotion.

* * *

**Song Cue ♫ ♪ “Close To You” as performed by Rihanna || Performed by Riley Matthews**

Riley’s rendition of this soft, gentle song is hauntingly beautiful, and the lyrics truly do say it all. It’s obviously growing increasingly more difficult to straddle this line that’s been drawn between them, even though she knows he’s more than capable of being fine without her.

She wanders over to the door to the teacher’s lounge, almost leaving but then leaning back against it instead. Panning just a little bit through the wall, we see that Lucas hasn’t gone all that far – he’s just outside the doors, trying to catch his breath and mirroring her emotion. Just a wall separating them, as there seems to be emotionally as well.

**INT. AAA - HALLWAY - NIGHT**

As the song progresses, Riley meanders her way through the halls with all the space and freedom to take her time given that there’s no one else around. As we make our way back to the auditorium…

**INT. AAA - AUDITORIUM - NIGHT**

Similar visuals of Riley and Lucas pepper the remainder of the sequence, instances where they’re just out of reach of one another – separated by curtains, on opposite sides of a set piece, etc.

As the piano carries through to the end, Riley mindlessly wanders her way through the house seats… until she finds herself standing outside the technician’s booth door. Because of course that’s where she’d end up.

Riley slides down in front of it, sitting outside the door and tilting her head back against the wood. Locked out, in more ways than one.

She closes her eyes as the gentle notes on the piano take us home…

* * *

**INT. AAA - AUDITORIUM - NIGHT**

Supper time! The six are assembled on the floor behind the center section, cramped there with the back section to the booth looming behind them. It’s not the most comfortable set-up, Farkle opting to slouch in one of the auditorium seats in the back center section instead of the ground.

Isadora looks at her microwave meal with distaste, but opts to complain about something else. Namely, the fact that they’re cramped there to eat when they could easily eat on the stage and spread out a little bit. Riley coughs at Zay and Maya, but the latter defends their stance.

> **Maya:** Sorry, but the _stage_ is not meant to be _eaten_ on like a common kitchen table.
> 
> **Lucas, deadpan:** Not meant to be defiled either, but y’all do that every week when you basically pee on it to claim your territory.

This earns a reaction or two, Riley choking on her food and covering her mouth – and potentially a giggle. Isadora chuckles, chewing her food with a smirk. Zay rolls his eyes, Maya even more disgusted.

> **Maya: **Oh, please.
> 
> **Lucas:** No, really. Now that Farkle has stopped giving a shit for attention, you’re the new one stomping all over people in your psychopathic climb to the top.
> 
> **Maya, sarcastically: **Whew, ouchie! That really hurt! I’ll remember that twenty years from now when I’m touring Madison Square Garden and you’re in _prison_.

This devolves into another argument, this time zeroing in on everyone’s attitudes. There’s a jab from Zay about Farkle’s pathetic woe-is-me routine, and Lucas ends up slighting Isadora when he responds to another criticism by highlighting her near split personality at this point considering she’s torn between two different realities.

Riley steps in to try and defend Isadora, and even give Lucas back some credit, but that only sets her up to be the next target. Maya hits her with “and there she goes again,” and even Zay incidentally jumps on the bandwagon when he agrees it’s pretty stupid to try and defend Lucas…

In front of Lucas. He glances at Riley, who looks like she wants to die of embarrassment.

All of this leads up to Maya finally taking a direct shot at Lucas, saying what apparently everyone has been thinking – that he very clearly doesn’t care about anything or anyone but himself. This seems to light a fuse, and suddenly Lucas unexpectedly snaps.

> **Lucas:** I don’t care? _[ viciously ] _I _wish_ I didn’t care!

* * *

**Song Cue ♫ ♪ “Untitled Free Verse” || Performed by Lucas James Friar**

Less of a song and more of an experience, all of the oxygen seems to get sucked out of the room as Lucas finally, finally cracks. The rest of them freeze as focus directs solely to Lucas, who launches into a frenzied, unfiltered rant. It’s reminiscent of Alexander Hamilton’s free verse in “The World Was Wide Enough,” moments before the bullet hits him that ends his life.

For Lucas, it’s not going to be a bullet wound that takes him out but the sheer weight of everything he’s _feeling_. It’s practically slam poetry as he attempts to sort through all these emotions that he can’t grapple with, coming out as a blistering display of blunt vulnerability.

Because it’s not just Farkle’s stupid rant video, it’s not the senseless drama of AAA. It’s everything. It’s the booth being taken from him, it’s the fact that he has to rely on the booth in the first place. It’s his parents being shit parents, it’s him being a shit son. It’s Dylan and Asher and how they love him, even though he kind of wishes they would hate him instead so he could leave them alone. It’s being an inevitable disappointment to Jack, it’s the detestable _desire_ for Riley. It’s Isadora and her talent taking her over; it’s having no fucking talent at all.

It’s all of that that is spilling out of him like an open wound, stammered and out of breath and glossy-eyed. All these things he wishes he didn’t, tries _desperately_ not to care about, but yet still does. He cares, he cares too much, and it’s gonna suffocate him. It’s all he can do not to burn everything down with him, so it’s easier to pretend none of it matters. Because he doesn’t matter – God knows he doesn’t matter – so why should anything else? It doesn’t matter. It doesn’t matter! It doesn’t _matter_ –

Just as the scene becomes so claustrophobic and feels like it’s going to implode – there’s a click and suddenly it flattens out again. Lucas isn’t standing in the center of the circle but is back where he was sitting earlier, having not made any moves at all. His expression is blank, Maya snapping him out of it when she grabs his attention.

> **Maya:** Well? Aren’t you going to say anything, Jackass?

Whatever we all just heard, they certainly didn’t. It was all in his imagination, still threatening to suffocate him. But despite everything he obviously needs to say, Lucas merely grits his teeth and forces a sardonic smile.

> **Lucas:** Nothing that matters.

* * *

Despite what remains unsaid, that pressure is leaking off of him like lighter fluid. Riley can’t take the tension, searching for a change of subject and perhaps a way to get away from them for a bit considering how Zay and Maya effectively embarrassed her. She declares that they need to shift gears and focus on something else. Something fun to lighten the mood.

> **Isadora, flatly: **Oh, this isn’t fun for you? I’m having the time of my life.

Sarcasm aside, Zay agrees with an encouraging nod. Doing something a little less stressful might keep them all from killing each other before morning.

> **Farkle: **We were just eating…

Riley gets to her feet and paces, lighting up with an idea. Considering her uncle is basically the ambassador of non-stressful activities at this school, perhaps he’ll have something in his office that will offer a little reprieve. She jogs to her backpack, unzipping the front pocket and retrieving a spare key to his office.

> **Isadora:** You’ve had that the entire time?

Riley tilts her head, handing the key to Isadora and placing it definitively in her palm. She assigns the task to her and Farkle, sending them on their way to go searching while they all scour in here.

They disband, off on another mission. At least it’s something to do. Farkle and Isadora exchange a look, wearing somewhat matching expressions of resignation.

**INT. AAA - COSTUME LOFT - NIGHT**

Zay is back to searching for a signal, up in the costume loft for some height as he wanders the space. He carefully climbs onto one of the costume racks, actually managing to get a couple of bars. He reacts in excitement, going to Charlie’s contact and hitting call.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie is doing homework on his bed, seemingly not in that great of a mood. Considering he thinks he just got stood up by his boyfriend, the gloom makes sense.

He jumps when his phone rings, crawling forward to grab it from the end of the bed. He obviously seems relieved to see it’s Zay, but he pulls back on the emotion and tries to exude something more aloof as he answers the call.

> **Charlie: **You know, being late isn’t a heavenly sin, but not showing up at all…

**INT. AAA - COSTUME LOFT - NIGHT**

The ensuing conversation is split between the two locations, Zay exhaling in relief and attempting to maintain his balance and keep the signal. He starts to explain what happened and assuage Charlie’s concerns and indignation, but the connection isn’t great and he keeps breaking up. Charlie tries to tell him as much, growing more confused than frustrated, but Zay isn’t even really getting his replies.

Then, the real kicker – Zay’s phone dies midcall. When he checks to confirm this grim reality, he loses his balance and falls off the rack, collapsing into a pile of costumes. Charlie says his name a couple of times in concern, pulling back from his phone to confirm that he did actually hang up out of nowhere. What the hell?

So close, only to be thwarted. Zay growls in frustration and then grabs a costume piece, using it to stifle his scream of frustration. Then he sits up, taking a deep breath and pulling himself back together as he heads back down the step ladder.

**INT. AAA - AUDITORIUM - NIGHT**

Maya is glued to her own phone, mindlessly flipping back and forth on the home screens since there’s nothing else to do. Riley marches over to where she’s seated in the back section and demands her attention. She musters up her nerve before stating that she doesn’t care for the way Maya has been constantly dismissing her. Regardless of her intentions by doing it, Riley is more than capable of making her own choices and doesn’t need her approval.

Maya claims she’s just looking out for her. She simply isn’t impressed by her decision to stand by Lucas for any reason – the man himself currently in the background, climbing around on the leftover set pieces from _Into the Woods_ and looking for a place to perch and be left alone. But as Riley points out, that’s none of Maya’s business. Whether or not it’s stupid, the choice belongs to Riley and all Maya needs to do is respect it.

> **Riley:** If you and I are going to share a living space, we are going to have to start respecting one another as more than just performers.

Definite food for thought. Maya absorbs this, the challenge lingering between them when Zay approaches to disrupt the confrontation. He asks if either of them has a charger he can borrow.

Riley nods and digs through her bag to grab hers. Maya questions why Zay has been so desperate to find a signal all evening, seeing as the rest of them have given up. Who could he possibly be trying to reach so badly? He once again claims he’s just trying to get help, but she retorts that it’s _far_ too late for that and they’re stuck until morning at this point no matter what.

Maya then starts brainstorming out loud, puzzling over who else Zayby could possibly be trying to contact. Someone… special, perhaps? This excites Riley as she returns with the charger, immediately jumping on the notion with delight. Romance, now _there’s_ something to lighten the mood!

> **Riley:** I can’t believe it. I can’t believe you could have a significant other and not tell me about them.
> 
> **Zay:**_ [ with an incredulous scoff ] _Who said I did?

Despite his lack of confirmation, Riley and Maya latch onto this theory and start eagerly trying to guess who it could possibly be. Not Yindra, Maya would have definitely heard about that. Nigel? No, he’s too deep in his _serious artiste_ phase right now… Zay keeps shooting them down but they’re practically giddy with interest. Come on, Zay, tell us! Tell!

Obviously, Zay isn’t going to say a word about Charlie. But he can tell they aren’t letting up any time soon, so he’s got to give them something. Defending his boyfriend’s privacy and non-present honor, he decides to give them something to tide them over – which is to say, absolutely nothing real at all.

* * *

**Song Cue ♫ ♪ “Particular Taste” as performed by Shawn Mendes || Performed by Zay Babineaux**

Zay launches into this boppy pop tune, basically building a fake significant other for Maya and Riley to daydream about as a distraction. The three of them get into the groove of it, dancing around the auditorium while Zay sings about the eccentricities of his mystery lover.

When they make their way onto the stage around the second verse, he makes a point of poking at Lucas sitting up in one of the leftover trees a la Troy Bolton in _High School Musical_. He swats irritably at him, Zay grinning and ducking around to the other side of the set.

Although most of the details in the lyrics are made up, not all of it is entirely fictional. Zay’s expression is what acts as a giveaway, becoming more thoughtful or smitten on phrases that could most certainly apply to Charlie. It’s glimmers of truth hidden within the facade, ones that Maya and Riley don’t notice as they jam on the stage with him.

The best example of a lapse in the charade comes at the bridge. Zay seems more than a little lost in a memory as he soulfully sings about fingers in hair and knowing exactly what you want, before snapping himself out of it and launching into the last verse.

It’s the most energized fun they’ll have while trapped against their will, so might as well enjoy it. Riley, Zay, and Maya descend into laughter as they wrap the number, Zay taking a bow and waving them off with a “thank you, thank you.”

* * *

**INT. AAA - ERIC’S OFFICE - NIGHT**

The door creaks open, Isadora stepping inside before opening it wider for Farkle to enter. She turns on the lights and gets to searching, but Farkle hangs back in the doorway. He seems tentative to enter, reluctant to cross the threshold.

Isadora starts digging through shelves, looking for where Eric might hide fun activities.

> **Isadora: **Feels weird, being in here without him.
> 
> **Farkle: **Feels weird being in here regardless.

Isadora tosses him a look, message clear from her expression. _Okay, edgelord._

> **Isadora: **Are you gonna help, or are you just going to stand there?

That seems to startle him out of his fugue. He steps inside, cracking the door closed behind him and settling into searching as well.

As they start gathering things to take – not many offerings, unfortunately – Isadora contemplates another topic of conversation. It doesn’t have the smoothest of starts, considering both of them are terrible at communication.

> **Isadora:** I’m not trying to pity converse with you –
> 
> **Farkle: **Oh, sure. Totally. The _queen_ of the techies wants to befriend the freefalling _Icarus_ of the performers, someone she so strongly dislikes she once referred to him as “the spoiled produce of people.” Or, alternatively, described interacting with him like “stepping on a LEGO brick without shoes.”
> 
> **Isadora:** … well, you deserved those things. At the time. _[ off his eye roll ] _But, well, things change.
> 
> **Farkle, blankly: **Sure do.

Isadora eyes him curiously. Something about his plain response is so… off. So unlike Farkle X. Minkus, the Icarus of the performers. She settles on the floor across from him, slouching back against the desk.

> **Isadora: **Honestly, I’m not even sure “queen of the techies” is an applicable title for me anymore. So I guess we’ve both fallen from grace.

Somehow, in spite of the conversation being _painfully_ awkward, it hits on everything that is up in the air in their lives. Isadora’s struggle to join a new side of the school, Farkle’s increasing isolation, his odd behavior as of late…

He asks why she even bothered to try and make the change, wondering what she could possibly gain from joining the performer side of things. Isadora wonders why he would even ask considering performing is like his whole world – something he’s seemed to have forgotten.

> **Farkle:** I don’t know why you would even bother. Being a performer is hell.
> 
> **Isadora: **Isn’t that like… your entire reason for existing?
> 
> **Farkle:**_[ a beat, blankly ] _Well, yeah. Sure. But seems like you’d be having a lot more fun sticking with the techies.

When she gets him to elaborate, Farkle reluctantly admits – without the exact words, of course – that he’s always been jealous of the techie crew. Sure, they’re annoying and rude and constantly make their lives more difficult (**Isadora: **The feeling is mutual.), but they’re such a united front. They’re a team, and they tackle things collaboratively rather than having to knock one another down to succeed.

Not only that, they’re _friends_, which may as well be a miracle at this school. They support one another, they actually know one another, they have _parties_ for God’s sake –

> **Isadora: **Well, like I said, sometimes those things don’t last. We’re not nearly as perfect as we seem.
> 
> **Farkle:** … really? Are you sure?

Isadora asks him what he means, and Farkle innocently explains what he overheard between Lucas, Asher, and Dylan. He doesn’t mean to stir up trouble – really, this time – but as far as he could tell, there was definitely a celebration of some kind.

Isadora is obviously shocked to learn this. She curses under her breath, hitting her head back against the desk in lieu of actually dealing with her emotions in front of Farkle. Still, this is a big whammy to absorb, and she doesn’t do a great job of keeping it all sealed away.

> **Isadora: **This fucking sucks! _[ with a huff ] _It’s like I’m back in freshman year, stuck in this mass of people who don’t know who I am. And I don’t have Lucas there to clear the way for me, because he doesn’t know who I am either. I’m on the outside looking in all over again. Like… fucking isolated.
> 
> **Farkle: **Tell me about it.

Oh. Huh. The two of them exchange a strange look, having a moment they didn’t expect to have. Farkle and Isadora have always considered themselves opposite ends of a spectrum, only suddenly they’re experiencing the same things. Perhaps, potentially, there is more in common between the two of them than they realized. And perhaps, there is a whole other side of their adversary to explore and understand that they have never even _contemplated_ before.

There’s a weird heaviness to the realization, both of them looking away from one another and clearing their throats. Both suddenly very aware that there’s depth to the other person, and maybe they don’t really… hate one another. Not the actual person underneath the facade.

Isadora escapes by shifting her focus, climbing to her feet. She claims she has to go deal with this betrayal, grabbing the cushion off the chair across from Eric’s desk and pummeling it in her hands. She tucks the one from the other chair under her arm, marching towards the door.

Before she exits she pauses, doubling back and locking eyes with Farkle.

> **Isadora: **Maybe Icarus and the Dethroned Queen could afford to hang out sometime. Just. Not when they’re locked in a pressure cooker doing the worst assignment on Earth.
> 
> **Farkle:** … yeah. Maybe.
> 
> **Isadora:** Now if you’ll excuse me. _[ lifting the pillow ] _I have to go kill my best friend.

Isadora storms out, leaving Farkle alone.

**INT. AAA - AUDITORIUM - NIGHT**

Maya and Zay are back on the stage again, arguing in low voices about the assignment and whether or not they’ll have to change everything. Lucas saunters past them, hovering uncertainly near the wings and trying to work up the courage to approach Riley.

Finally he does, subconsciously wringing his hands as he does so. She’s standing at the stage manager’s podium, idly flipping through a discarded copy of the_ Into the Woods _libretto.

> **Lucas:** … hey.

Riley lifts her head, staring at him. Not sure why he’s deemed to talk to her, maybe hoping it’s for a good reason, dreading it’s for worse. Mostly, she’s waiting for him to say _something_, which it seems as though he’s lost the ability to do.

He finds it again eventually. He clears his throat, torn between forcing himself to look at her and averting his eyes to the floor.

> **Lucas:** I just wanted to, um – what they were saying during dinner. About… _[ quickly ] _you know you don’t have to do that. You don’t have to keep defending me.
> 
> **Riley:** _[ not moved ]_ I know I don’t have to. I don’t _have_ to do anything.

Riley goes back to looking at the script. Lucas blinks, even more confused than before. He crosses his arms, considering just walking away but not able to let it go.

> **Lucas: **I don’t get it. I don’t get why… why would you waste the effort? Especially when everyone is telling you not to.
> 
> **Riley:** Because I don’t let other people’s opinions form my own? _[ a beat ]_ And because friends don’t need a reason. And just because… just because you decided we weren’t friends anymore because of something someone else said doesn’t mean I did. So.

The sentiment seems mindblowing to Lucas. He can’t wrap his head around it, having only ever understood the relationships in his life to be conditional. While he’s struggling to grasp it, Riley is clearly having an internal debate of her own. She looks up at the wall before turning to him, deciding to say her final piece.

> **Riley:** I feel like I know who you are. I know who I wanted to be my friend and… _[ changing direction ] _I feel pretty confident that I know who he is. And if that person is who you really are, then it’s not effort to defend you. I will always believe in you.
> 
> _[ Lucas is speechless. Riley powers through, sincerity shining through her gaze. ]_
> 
> **Riley: **That’s not something I _have_ to do, but… I don’t think I could do any differently.

They can’t look away from one another. It’s as if the whole world has frozen around them, and whether or not it’ll keep spinning depends on what Lucas says next. He’s clearly searching for what to say… if there’s anything to say at all…

But, of course, the world is not only the two of them.

> **Isadora:** LUCAS JAMES FRIAR!

Lucas whips around just in time to see the cushion flying at him. He pushes Riley protectively behind him on instinct, covering his face as the pillow hits him in the torso. Isadora is marching across the stage, another cushion ready to fire.

> **Lucas:** What the hell, Dora?

Maya and Zay jog over to Riley, pulling her away from the fray.

> **Riley: **What’s happening?
> 
> **Maya: **Don’t know, but I’m not surprised.
> 
> **Riley:** Should we do something?
> 
> **Zay:**_[ already pulling her away ] _Go, run, go –

The three of them bolt, leaving Lucas and Isadora to have their great showdown. Lucas provokes her to tell him what the hell she’s going off about, to which she throws the revelation of the techie party.

> **Lucas, incredulous:** _That’s_ what you’re pissed about? Don’t throw shit at me, then, go after Asher and Dylan. You know I don’t _do things_ for myself.
> 
> **Isadora: **And yet, nobody told me! So I guess you all just had a super great time without me, like you always do.
> 
> **Lucas: **Don’t turn this on us. Like you even fucking care, you’ve got a whole new crew to hang out with. That’s what you did, isn’t it?
> 
> **Isadora: **… don’t make this about what it isn’t –
> 
> **Lucas: **You were the one who brought it up. You don’t want to get real?
> 
> **Isadora: **Oh. _Oh_? You want to get _real_? Fine. You wanna tell me when you got the money to get those new boots? _[ off his guilty expression ] _No, seriously, I’d love to know. I know Grace and Kenneth didn’t get them for you –
> 
> **Lucas, fiercely: **Hey, _shut up_.

Their argument quickly escalates, but the fact of the matter is, they _don’t_ get real. They keep jabbing at one another for the petty, annoying things they’ve done to each other in the last couple of months, rather than actually addressing the tension and distance forming in their relationship. Lucas takes a pointed dig and claims she’s becoming just like Valerie, and this offends Isadora. She fires back that she doesn’t want to abandon _anyone_, he’s the one who hasn’t been there for her at all this year. Friendship is a two-way street!

It’s more than clear – something in their dynamic is in serious disrepair. Neither of them can articulate it, but boy, are the emotions from it loud and clear.

* * *

**Song Cue ♫ ♪ “Defying Gravity” as performed by _Wicked_ Original Broadway Cast || Performed by Isadora De La Cruz (feat. Lucas James Friar)**

This argument segues perfectly into the opening fight of the Broadway showstopper, Isadora claiming that she hopes Lucas is happy that he’s ruined his life forever with his behavior. He fires back that he hopes she’s happy too, now that she’s submissive and a suck up and just like the rest of the performers _“to feed her own ambition.”_

Once the song settles into quiet before the actual number, Lucas tries to appeal to her one last time. He points out that she could still come back to the techies, and things could go back to normal. Things don’t have to change.

> **Isadora: **I know… but I don’t want it. I can’t want it anymore.

This is what truly kicks off the number, Isadora taking the Elphaba role while Lucas jumps in on the Galinda beats – trying to convince her she’s being delusional, to make her realize what she’s giving up, whereas Isadora instead feels like he wants an unfair compromise from her. She’s spreading her wings and trying to be something that feels closer to who she actually is – can’t that be a good thing? Can’t he be happy for her?

As the number unfolds, Isadora drifts closer and closer to the lights on center stage, whereas Lucas symbolically stays tied to the shadows of the wings. Even as she gets close to moments of pulling him into the light, he shies away or turns the tables.

At the bridge, as they’re exchanging genuine _“I hope you’re happy”_ sentiments, it’s clear that the two of them are not going to be able to bridge this divide they see built between them. As they sing the last harmony in the performance, they clasp hands, and it’s the most emotive the two of them have ever intentionally been with one another. When they wish each other happiness “in the end,” it’s clear that they really mean it.

Then, as the music swells, Isadora backs towards the lights again… and Lucas lets her go. Their hands slip apart, and Isadora stumbles right into the stage lights to deliver a commanding rendition of the remainder of the song.

The other four take the chorus parts, scattered within the house of the auditorium. In the last escalating chorus, Lucas watches from the shadows of the wings before turning away and disappearing into the shadows. Isadora belts out the final note with gusto, proving exactly why she needs to see this performing thing through to the end.

* * *

One just has to wonder, as Lucas walks away, if everything will be worth it in the end.

**INT. AAA - PROP LOFT - NIGHT**

Quiet has settled over the space as the group attempts to get some sleep. As we pan across the auditorium, we get glimpses of Maya, Zay, Isadora, and Lucas all trying to get as comfortable as possible in their chosen nooks so they can rest. Notably, they’re all a good distance away from one another.

Riley isn’t giving it much effort, knowing she’s not going to get restful sleep. She’s wandering around instead, just climbing her way up into the prop loft.

She doesn’t spend much time up there, but now she’s wondering if maybe she should. It’s neat, cozy, and has a calm air for being somewhat “above it all.” She gently handles props as she passes along the shelves, smiling at the peach-colored paper slips taped all over the place that detail Asher’s intensive procedure for keeping the place organized.

Riley stops at the back wall, sliding down into a seat against it amidst the shelves and tables of props. She tilts her head back, looking at the shelves to her left until her brow crinkles. She leans forward and pulls another piece of paper from the shelf, tucked inside one of the cubbies and only visible from where she’s sitting.

It’s plain white notebook paper, different than all of Asher’s reminders and notes. She unfolds it, finding Dylan’s big, messy scrawl instead.

_Hi, Ash!_

_Remember to unclench your jaw, relax your shoulders, and breeeeathe. Also, you’re the best and I love you!_

_Love, Dyl_

Although the message was not intended for her, Riley finds herself following the directives anyway. She can’t help but smile, relaxing her muscles before folding the note back up neatly and putting it back right where she found it. She isn’t sure whether it’s new, or if it’s been there for ages and Asher keeps it there simply to revisit it when he’s feeling exactly how she’s feeling right now. She could honestly believe either possibility.

It’s a nice reminder, that people can treat one another with warmth and kindness even in the face of so much uncertainty.

Farkle emerges from the step ladder, hesitating at the top. He looks to Riley and waits for permission of some kind to enter.

> **Farkle:** Sorry we couldn’t find anything to do.
> 
> **Riley:** _[ with a shrug ]_ We’re all gonna die in here anyway, so. I can’t pretend a board game would’ve fixed everything.

The actual conversation is as good an invitation as any. Farkle treads cautiously and joins her in the space, settling down into a seat against the shelves and propping his elbows on his knees.

Riley awkwardly fills the silence, lamenting the fact that students could even get stuck in the school. What procedures failed that led to them getting stuck in here anyway? And if they decide to close schools tomorrow, what then? She knows it’s unlikely given that New York hardly closes unless Hell is freezing over, but –

> **Farkle: **I’m sorry you had to pay for it.

Farkle’s statement is abrupt, like it’s spilling out of him. Riley stops talking and looks at him, waiting to see if he’s going to clarify his outburst. He digs his nails into his knees, frowning at the ground as he tries to articulate it.

> **Farkle, shakily: **For the video. The things I said._ [ a beat ]_ I know what I did was stupid. Pure idiocy. And I don’t have an excuse. Even if I did, I hardly think it would matter. But I never meant for it get so out of control. I didn’t think everything would get so… I never thought everyone else would –

He swallows, clearing his throat. Riley waits patiently. Finally, he lifts his gaze to meet hers.

> **Farkle, timid: **I didn’t mean to mess everything up for you. _[ voice cracking ] _I’m really sorry.

Riley can tell he’s being genuine. His nervous demeanor and glassy eyes make it hard to believe he could be flubbing his way through the apology. After a moment, she extends the only reassurance she thinks she has the power to give.

> **Riley:** I forgive you.

It’s barely a dent in everything that’s gone wrong. It’s far from fixed. But it’s something, and that’s better than nothing. Farkle gives her a weak smile, dipping his head down again.

The two of them settle into the quiet.

**INT. AAA - AUDITORIUM - DAY**

Much like when they first learned they were trapped, the six are sprawled across the stage again. Backpacks are being used as pillows – aside from Riley, who has her head on Zay’s torso. Lucas and Isadora are on opposite ends of the space. Their eyes are closed, but it’s evident none of them have gotten any actual rest.

Although there’s still plenty of tension, sleep deprivation and loss of fucks to give leads to Isadora asking some silly sleepover-esque question that causes everyone to shush her or groan. But they get into the discussion anyway, the conversation veering in a couple of comedic random directions before petering out again.

In the silence, Zay grows solemn. He pats Riley’s head affectionately, releasing a sigh.

> **Zay:** Does any of this matter?
> 
> **Maya: **What do you mean?
> 
> **Zay:** Like… everything we’re doing. The things we’re stressing about right now. Assignments, rivalries –
> 
> **Isadora: **Party lines –
> 
> **Farkle: **Big mistakes –
> 
> **Zay: **The secrets… is any of it going to be worth it? In ten years, is any of this going to mean anything?
> 
> **Riley:** Are we even going to remember it?
> 
> **Zay: **Does it even matter?

The group ruminates on the big question, hanging over them like the winter storm. Lucas chimes in first, although he stays turned on his side away from the rest of them. His expression is melancholic, starting to crack his aloof facade due to lack of sleep and time alone.

> **Lucas:** No. It doesn’t matter.
> 
> **Zay: **Big surprise from Mister Truancy.
> 
> **Lucas: **You asked. I’m telling you. We’re going to graduate – or not – and go our separate ways. Get jobs we don’t care about, lose touch with people we swore we never would, start relationships and get married because we’re supposed to. Then we’ll die, like everybody else.
> 
> **Maya:** You’re so fucking charming, you know that?

Riley jumps in, aiming to divert the discussion from becoming a scrap between Maya and Lucas. She asks what all of them think about that – what happens after they die?

> **Riley:** I mean, my parents always said… we were never really religious. But there has to be some sort of purpose to it all, right? If all of that is what we’re destined to do, then there has to be something later. It has to be leading to something.
> 
> **Isadora:** Heaven, you think. But that presumes there’s a God up there to impress.
> 
> **Maya:**_ [ with a snort ] _Okay. Thanks, Charlie Gardner.
> 
> **Zay: **Hey, come on.
> 
> **Lucas: **There is no God.
> 
> **Maya: **Oh, wah, wah, wah –
> 
> **Lucas:** There isn’t. If there was, would he seriously let all this just happen? All this shitty stuff in the world, and he just lets it happen?_ [ a beat ] _Some higher power.
> 
> **Riley:** I guess that depends on whether or not we deserve it.
> 
> **Isadora: **God has nothing to do with what happens. Humans have free will. We make those choices. Whatever happens, that’s on us.

For being surprisingly quiet through a majority of the conversation, Farkle wraps it up. His statement is genuine, catching all of them off-guard.

> **Farkle:** Well, I hope you all would. Get into heaven.

This sinks in slowly, obviously impacting each of them differently. Lucas looks unconvinced. Riley and Zay are thoughtful. Isadora seems to be contemplating Farkle’s odd change of heart.

Maya is the most affected, obviously torn on how to take the sentiment – wanting to believe it’s sincere, clearly wanting to absorb it, but also wanting to stick to her guns of being done with Farkle Minkus.

Zay breaks the meditative silence, letting out another declarative sigh and stating the obvious.

> **Zay:** Afterlife aside, we can all agree this assignment is fucked, yeah?

Riley laughs, launching into uncontrollable, sleep-deprived giggles. The kind that are contagious, so then Isadora is breaking into chuckles. Hearing them laugh makes Lucas smile in spite of himself – Zay starts laughing too. Then Maya, even Farkle. All of them are in delirious fits of laughter, but it’s the most any of them have laughed in ages. Least of all together.

For a moment, things feel better.

The prison sentence is interrupted when HARLEY KEINER enters with JACK HUNTER, the two of them coming in to check out how the auditorium is holding up before school officially opens for the morning. Jack is tired and holding his morning coffee, stunned when they walk out of the wings to find the six of them lazing around.

> **Jack:** What on Earth are you all doing in here?

Sunlight! A savior from the outside! Maya is the first to jump to her feet, the rest of them getting up and scrambling up to escape. Jack tries to get them to explain what’s going on, and why it seems as though they’ve been here overnight. But they’re making bee lines for the exit, happy to get the hell away from one another. They breeze past him, Maya even yoinking his coffee with a quick thanks and flip of her hair.

Farkle is the last to leave, just sitting up at center stage while Jack tries to get his bearings on the situation. He blinks, spinning around.

> **Jack:** What the _hell_ happened in here?
> 
> **Farkle: **Don’t worry about it, Principal Hunter.

Farkle slowly gets to his feet, sauntering over to Jack. He gives him an exhausted smile, but it doesn’t reach his eyes.

> **Farkle, matter-of-factly: **Everything is the same as it always is. Nothing is ever going to change.

Farkle heads out the dressing room hall, leaving Jack to ponder what terrible things must have unfolded in that auditorium overnight. He places his hands on his hips, looking around at the vast space. As the robotic, spacey tones of “Agnes” float in…

* * *

**Song Cue ♫ ♪ “Agnes” as performed by Glass Animals || Performed by Farkle Minkus**

Farkle meanders into the detached and dreamy conclusion to the episode, floating through the empty halls and singing at a rather monotone pitch. It’s a groovy track with some subtly dark undertones, the echoing refrain of “_You’re gone but you’re on my mind / I’m lost but I don’t know why”_ feeling particularly heavy. On the lines _“this time you overdid the liquor, this time you pulled the fucking trigger,”_ Farkle glances at his reflection in one of the classroom windows before pithily pretending to shoot himself with a finger gun.

**INT. AAA - AUDITORIUM - DAY**

Intercut with the performance, Farkle dances loosely at center stage in the dark, nothing but the ghost light illuminating a small circle of the stage. It’s the most free-wheeling Farkle has ever seemed dance wise, but there’s an uneasy quality to it too.

As the number comes to an end, Farkle ceases his dancing. He almost seems like a completely different person – frumpy cardigan, hair a tangled mess, expression blank and devoid of any of his usual eccentricities as he stares out at the empty auditorium.

* * *

Then he walks off stage, only the ghost light breaking the swath of darkness until it flicks out.

** _END OF EPISODE._ **


	11. Contingency Plan [ 2.07 ]

**Summary for the Chapter:**

> JUST IN CASE – In preparation for the looming pressure of senior year, Eric meets with each junior for a mandatory check-in. Unwanted attention sheds light on areas of weakness. Contents under pressure can only bend so much before they break.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )
> 
> **CHAPTER CONTENT WARNING:** _suicide attempt (not shown)_; suicidal ideation; depictions of anxiety. Take care of yourselves and read with discretion.

**INT. AUDITORIUM - DAY**

**Song Cue ♫ ♪ “A Million Dreams” as performed by _The Greatest Showman _Original Cast || Performed by Eric Matthews (feat. Angela Moore)**

From the back, we open on a young student sitting backwards on a chair underneath a gleaming spotlight. As they launch into the opening notes of the number, something about the voice is vaguely familiar albeit a much higher tenor than we’re used to. As the camera eases in a circle around them…

We come to face YOUNG ERIC MATTHEWS (16). He’s fresh-faced, excited, sporting his ridiculously good ‘90s hair and with a layer of baby fat on his cheeks. He’s in the role all of our protagonists are in now, the world he once occupied -- a hopeful performing arts student, dizzyingly proclaiming all of the dreams he’s going to accomplish.

There’s something truly charming about his youthful performance. An unwavering belief in his passion, an electric energy as he dances across the stage that has matured into something deeper as he’s gotten older. Undoubtedly, he’s also good, really good -- just as good as any of the students at AAA despite not attending some fancy academy for the arts.

**INT. AAA - AUDITORIUM - DAY**

When the vocal tenor shifts in the middle of the song, younger Eric spins and the camera goes with him, transforming into ERIC MATTHEWS in present day. He’s still singing the same song, reprising the number on the AAA stage. The junior A class sits scattered in the audience, visible mostly from the back of their heads like how young Eric was first viewed.

A surprise guest joins in, ANGELA MOORE floating onto the stage with gusto. The A class performers react accordingly to this, excitement in their features at their former coach making a grand return. On the line _“share your dreams with me,”_ she smiles and holds her hands to her heart -- MAYA HART emulates the gesture in the audience, obviously so happy she’s back.

Angela and Eric finish out the duet impressively, reminding us that the faculty at AAA certainly hold an understanding of what their students are currently living through. They round out a spin together and fall into a hug as the piano takes the song out, before walking to the front of the stage and clasping their hands together in front of themselves.

* * *

HARPER BURGESS jogs onto the stage to join them as the A class applauds, completing the trio and matching their stance.

> **Harper: **Welcome to check-in week.

As they go on to explain, this is the annual week in the midst of each class’ junior year during which they meet with Eric -- and this time, maybe Angela! -- to discuss what their current goals and plans for the future are. Colleges, auditions, the _real world_ is just around the corner, and it’s time for them to start preparing for it.

The response to this impending reality is decidedly mixed. Some seem excited, invigorated, whereas others look reluctant or just plain scared. Off these varied emotions --

** _Cue title sequence._ **

**INT. AAA - CAFETERIA - DAY**

The diva crop of performers are together again, Maya leading the discussion as she, ZAY BABINEAUX, NIGEL CHEY, YINDRA AMINO, and ISADORA DE LA CRUZ eagerly discuss the content of the week. Maya has every detail of her life seemingly planned down to the wire, more than prepared to chase that elusive dream by every single choreographed move.

Yindra and Nigel add in their two cents, the former claiming she wants to jet-set straight to Los Angeles to start trying to break into the music industry. Maya scoffs at this, claiming that’s a pretty risky business venture. Nigel notes that he wants to attend one of the theater schools in New York before jumping the ocean to study / start up some roles in London at the West End. Every great actor gets their start in the West End.

Zay and Isadora are particularly quiet. As Zay listens to his friends verbally shoot for the stars, he contemplates that maybe he’s selling himself too short or approaching his future too modestly. Isadora feels totally lost, way behind on the performer uptake and not even sure what she wants to pursue once they graduate.

> **Nigel: **Well, better to have many talents you can’t choose between than be tethered to one that may or may not pan out.

Maybe so, Nigel. Maybe so. Isadora smiles half-heartedly, averting her gaze as they jump back into daydreaming. She notices FARKLE MINKUS seated a couple tables away by himself, excusing herself softly.

Oddly enough, Farkle is suddenly… looking and acting a _lot_ more like his former self. He’s back in his more polished fashion from season one, despite how it doesn’t fit right anymore with his height gain and weight loss. His hair has been swept back off his forehead into what _could_ be considered a coiff… if you squint.

More than that, what’s so jarring about it is the _fervor_ that seems to have taken him over. He’s spent much of the school year being uncharacteristically listless unless provoked, and now he’s suddenly back to work at a ferocious pace. He’s bent over his laptop and a notebook, meticulously crafting his “future” presentation for Eric.

Isadora raises her eyebrows as she approaches, keeping the table safely between them.

> **Isadora: **Well, didn’t realize future week meant we were throwing back to the past.
> 
> **Farkle:** _[ lifting his head, glaring ] _What?
> 
> **Isadora: **I’m just… you’re looking…
> 
> _[ She isn’t sure what to say. Communicating is hard. ]_
> 
> **Isadora: **You’ve certainly made a return to form, that’s all.
> 
> **Farkle:** Well, if nothing else is going to change then I don’t see why I should. The assignment for the week reminded me that nothing is more important than our goals -- that’s the only reason we’re at this school in the first place. And I guess something just… came over me.
> 
> **Isadora: **Yes, the ghost of Farkles past.
> 
> **Farkle, unamused:** Are you done wasting my time? And yours. Surely you would be better off spending your energy trying to figure out your paradoxical existence and decide which part of yourself you’re going to cut out to fully devote yourself to a set future at the age of sixteen.

Isadora honestly has no idea what to say. Partially because Farkle is being so waspish, and also because he sort of hit the nail on the head. She backs off without further comment, only glancing back over her shoulder once before marching away.

**INT. AAA - CORY’S CLASSROOM - DAY**

RILEY MATTHEWS is having lunch with CORY MATTHEWS, wisely avoiding the overwhelming atmosphere of the junior lunch period this week. As the two of them discuss her future potential, Cory is predictably all about one thing -- the dream. To him, Riley unequivocally has what it takes to make it, and she shouldn’t be giving that up for anything.

This is an uplifting take, and it’s nice that Cory believes in her so faithfully. But it’s not necessarily helpful, and doesn’t give Riley much to work with when it comes to outlining her plans in a tangible way for Eric to judge them.

She gives him a smile, turning back to her food as it falters somewhat.

**INT. AAA - HALLWAY - DAY**

As Riley heads back into the hall, she accidentally runs into CHARLIE GARDNER. They exchange apologies, Riley attempting to strike up conversation about check-in week. But Charlie isn’t all that talkative, politely claiming he’s running late for a meeting and really needs to go.

Riley watches as he jogs away, finding his behavior a little odd. He’s Charlie, and he’s always been odd, but now Riley is more attuned to it since they’re tentatively rebuilding a friendship.

She lets it drop for now, but the expression on her face makes it clear she isn’t finished with it.

**INT. AAA - DANCE STUDIO - DAY**

Zay is already warming up when Charlie arrives for their typical practice. Both of them are obviously a bit on edge due to the nature of the week, but at different levels of willing to talk about it. Zay laments how stupid the whole week is, whereas Charlie isn’t ready to give it any thought whatsoever.

Charlie can tell that Zay’s attitude goes deeper than annoyance, however, so he nudges him into talking about it. After a moment, Zay admits that he feels like maybe his approach in being realistic has instead turned pessimistic, and he’s being his own worst enemy.

> **Zay: **My parents are both very logical people, okay? They totally support me and Jada in whatever we want to do -- and of course, we both chose artistic and ridiculous passions --
> 
> **Charlie: **True test of supportive parenting, they should be prepared for it.
> 
> **Zay:** But there was always this logical caveat nested in my brain. Like, I could do it, but it would take planning and perseverance and tons of hard work.
> 
> **Charlie: **And that’s wrong?
> 
> **Zay:** I don’t know. Just listening to everyone else talk about it, they’re all thinking big moves. They’re giving themselves the credit to be able to jump to another city or step up for a major audition on a whim. And I always thought I was as bold as the rest, but maybe I’m not. Maybe I’m selling myself short before I even go on sale. And I have no idea how to not be that way.

Charlie assures him that thinking logically and realistically isn’t a bad thing. They need a balance of both, he thinks, to actually survive a life in the arts. But if Zay wants to push his own boundaries and think bigger, then he needs to start by reaching as high as he can.

As if to demonstrate the notion of pushing boundaries, Charlie braves taking his hands when he comes to stand in front of him. Despite the fact that they’re at school, and anyone could walk into the dance studio at any moment. Zay glances down at their hands while Charlie asks him to think bigger, to think about what he thinks the highest bar he could reach might be.

They do the exercise back and forth for a bit, Zay saying something in his possible post-graduate trajectory and Charlie instructing him to go even grander. It escalates until it gets truly ridiculous, Charlie laughing as Zay says something like usurping Beyoncé fresh out of AAA and going on a world tour.

Sure, that’ll never happen, but the exercise does what it’s supposed to. It opens them both up, and Zay thanks Charlie sincerely.

He then tries to return the favor and allow Charlie the chance to talk about his future anxieties, but he’s not having it. He slips from his grasp, claiming they should really get to practicing.

> **Charlie: **Can’t usurp Beyoncé if you’re not in top shape.

**INT. BLUE’S APARTMENT - DAY**

Isadora goes to visit BLUE NGUYEN after school, settling into his apartment. She’s eager to discuss the week’s assignment with someone who knows her well but is a removed neutral party, but it seems as though Blue is distracted. He’s got stuff going on with his new job -- since he can’t afford to go to college yet on his own -- and although he still attempts to be an avid listener Isadora can tell his mind is elsewhere.

She changes tracks instead, asking him what he’s working on. He seems grateful for the chance to talk about it, Isadora nodding along with a tight smile.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY**

Riley isn’t getting much work done on her own future outline, distracted by Topanga’s incoming visit for family dinner. She’s fixated on picking the perfect outfit and trying to seem put together, obsessively fixing her new short hair in the mirror.

Maya is on a completely different page, erecting a whole moodboard for her meeting. It’s like a flashy, diva science fair board, and she’s lovingly adding pieces and tweaking them to perfection. She questions why Riley is so panicked over the meal while adding a photo of Britney Spears to the collage, right next to Valerie De La Cruz under “career inspirations.”

> **Riley: **You’ve never had dinner with my family, okay? Especially not recently.
> 
> **Maya: **Really hyping this up for me, honey.
> 
> **Riley:** Besides I… I don’t know. I just have this… there’s this feeling…

She can’t articulate it, but she trusts her gut. She knows the other shoe has to drop eventually, although she’s not sure in what regard or what that might mean for them. How the hell is she supposed to focus on the future when her present is such a disaster?

**INT. BABINEAUX HOUSE - KITCHEN - NIGHT**

Zay is leaning against the kitchen counter, lamenting his future troubles to DONNA BABINEAUX as she bustles around making dinner. She essentially echoes exactly what Charlie told him, albeit with her own touch.

> **Donna:** Look, you work hard. You work twice as hard as the rest of the divas in that class to earn half the respect, and you’ve got the accolades to prove that you’re some of the best they’ve got. So to hell with reservations, you should not be concerned about reaching too high. Worry about the fall when you get there.

Convincing argument. Zay contemplates, nodding and gearing up to rearrange some things in his presentation for Eric.

**INT. MATTHEWS APARTMENT - NIGHT**

The full clan is assembled along with Maya, TOPANGA LAWRENCE avidly holding conversation with AUGGIE MATTHEWS. Cory mostly remains quiet as usual, smiling where appropriate and speaking when invited by others. Riley is quiet as well, unusually nervous.

Topanga lights up with a thought, remembering that there was something she wanted to let them all know. She happily declares that she’s decided where she wants to relocate permanently -- upstate! Out of the city, where her practice can really thrive and she can maybe expand.

But also hours away rather than minutes by train. This is a bombshell revelation, and Riley barely gets the chance to react to it before Topanga is already changing the subject again. She pulls Maya into conversation, wanting to know more about her and hear all about her time at AAA as compared to Riley’s.

Maya glances at Riley before taking up the conversational slack. Riley looks to Cory, wide-eyed, but he doesn’t have any optimism to offer. As this heavy reality settles over this dinner…

**INT. GARDNER HOME - DINING ROOM - NIGHT**

The more distant future is up for discussion at the Gardner table. ELEANOR GARDNER and AMBROSE GARDNER are curious to hear what this “check-in week” entails at AAA, and excitedly wonder what Charlie has thought about in regards to his future. ROSAMUND GARDNER and DAISY GARDNER listen plaintively, grateful it’s not them in the hot seat.

This is an uncomfortable topic, because Charlie doesn’t feel like he has any grasp on a future for himself. He barely knows who he is right now, he can’t fathom the future. He tries to give them something to chew on anyway, admitting that he loves dance a lot, but isn’t sure what he wants to _do_ with that.

> **Rosie:** Why are you at dance school then?

Charlie glares at her, kicking at her under the table. She sneers back, waiting until both parents aren’t looking to stick her tongue out at him. Eleanor jumps back into the brainstorming session Charlie never asked for, eagerly suggesting that he consider theology school if he isn’t sure what else he wants to do.

> **Eleanor:** They have a great institution, Aggie loved it. They even have a performing arts major, which would be fun and still aligned with your interests.
> 
> **Daisy, under her breath:** Bridal college...

Ambrose laughs lightly, playing off of Daisy’s comment.

> **Ambrose: **There you go, Charlie. Daisy’s onto something. You could get yourself a future _and_ a wife, nice two-for-one.
> 
> **Charlie: **Oh, perfect. All figured out then. Ha ha.

Charlie’s words do not match his expression. He looks like he’s going to be sick, stabbing at his peas and forcing himself to swallow a forkful.

**INT. AAA - ERIC’S OFFICE - DAY**

Before Charlie’s fork can hit the plate again, Maya’s moodboard hits the surface of Eric’s desk. She launches into professional and compelling presentation mode, giving a thorough, impassioned, and somewhat overwhelming explanation of how she’s outlined the next fifteen years of her career.

It all starts with arts college, of course, to which she’s selected a list of five in preference order that she will be applying to come next fall. From there, she has about four branching plans for each school that accounts for even the smallest details, creating an elaborate future tree that all eventually leads to the inevitable -- her name in lights, doing what she was born to do.

In the midst of Maya’s monologue, a classic _AMBITION_ montage throws other juniors into the chair across from Eric to discuss their futures. Nigel makes commentary about how he just wants to act, but he figures going to AAA has given him plenty of practice for dealing with the drama of the industry. Yindra explains that she wants to head straight to Los Angeles, maybe major in music production but predominantly focus on building connections.

> **Yindra: **Rumor has it you have a younger brother in the music industry. Want to share contact info, Mister E?

LUCAS FRIAR takes the chair across from Eric, and from the (: expression on his face we can tell that he’s not going to be making this easy for the well-meaning counselor. He essentially answers all of his questions with non-answers, spinning the question or throwing it back in his direction.

> **Eric: **Come on, Lucas. It doesn’t have to be difficult. What exactly have you been thinking for your future?
> 
> **Lucas:** What have you been thinking for _your_ future, Mister Matthews?
> 
> **Eric:** I’m sorry?
> 
> **Lucas: **You know, social security is running out. I’m doomed for retirement, but you still have a chance and should consider your options.
> 
> **Eric: **I don’t --
> 
> **Lucas: **In fact, you could be contemplating retirement right now.
> 
> **Eric:** How old do you think I am?
> 
> **Lucas: **You know what, you’ve got a lot to think about. Let me just get out of your hair. Best of luck with this next phase in your life, sir. Save a little social security for the rest of us provided climate change doesn’t kill us first!

Lucas slides out of the seat, propelling himself through the doors before Eric can even register what just happened. He rubs his face, totally confused.

A couple other A class students follow after.

> **Darby:** I just don’t know if I’m cut out for this thing, you know? Sarah is always telling me I’m just a follower, but the world needs followers too, doesn’t it? Who would become social media influencers if there was no one to influence?
> 
> **Eric:** It’s okay if you don’t want to pursue the arts.
> 
> **Darby: **I mean, but what am I going to do instead? Follow in the footsteps of my mom? I won’t survive veterinary school, Mister E. And you can only cure lung cancer once!
> 
> _[ Haley takes the seat next. ]_
> 
> **Haley:** All I know is I want to stay in New York.
> 
> **Eric: **Why’s that?
> 
> **Haley: **Well, Clarissa is staying here because she wants to go to Juilliard to study music. I think she wants to be an orchestra or general music teacher, which would be _so_ good for her. She’s like, sweet and patient but also sassy, and kids will like that. But I don’t wanna go too far, because we’re best friends and we’ve never been that far apart.
> 
> **Eric:** Uh huh…
> 
> **Haley:** Also, I guess if I want to try and be an actress and stuff, this is the place to be.
> 
> **Eric:** Do you want to try and be an actress?
> 
> **Haley:** Yes. I mean… not particularly. Maybe? It just feels like I’ve been following the path for so long it would be a major disappointment to have gotten this far and end up not following it through. It kind of... _[ a beat ]_ It kind of feels like my whole crush on Charlie thing. It’s like, if it doesn’t end with us eventually riding off into the sunset together, then what was the whole point?_ [ a beat, then panicked ] _Oh, God. Do you think I’ve been running on false hope this entire time?
> 
> **Eric:** Well, I wouldn’t say that --
> 
> **Haley: **You’re right! You’re right, haha, I’m just jumping to the worst case scenario. I’m going to stick with my flower shop with Clarissa plan and wait for Charlie to finally come around and come buy flowers for me and it will all work out. Thanks, Mister Eric.
> 
> **Eric:** … you’re welcome.

What a mess. But that’s every check-in week. It’s somewhat of a relief when Zay Babineaux walks through the door next, Eric greeting him cheerfully at the prospect of actually having a calm, rational conversation with someone.

Although a little nervous, Zay does a good job of laying out his new plans to Eric. The counselor listens eagerly, nodding along and seemingly impressed with some of the bolder ideas he has for paths to pursue post-graduation. When he finishes with an exhale, Eric applauds his creativity and ambition. Of course, he supports him considering he knows how hardworking and talented he is, and it’s obvious that his heart and soul went into thinking about this.

But on the other hand… Eric is obligated to point out the lack of back-up planning. Zay clearly has a lot of drive and ambition, which is excellent, but in throwing his reservations out the window to redo his plans he might’ve thrown them too far. What if he discovers he doesn’t want to pursue the arts after all? What if those high-reaching conservatories he applied to don’t accept him?

Fair points, but a difficult conversation to have with someone already feeling overlooked and stuck. The commentary hits a nerve and Zay grows defensive, arguing that Eric didn’t have all this criticism to give Maya. In Maya’s defense, she had fourteen thousand alternate routes mapped out, but that’s not what is really bothering Zay.

And so, for the first time, Zay has _his_ diva meltdown. As he goes on to say, this is just more of the same that he’s endured since the moment he showed up at AAA. They’ve chosen their favorites and who they plan to back, and that’s clearly never going to change. He’s never going to be good enough for them.

Eric frantically tries to assure him that isn’t the case, but Zay is already marching out of the office. Yet another victim of the pressure of check-in week. As the grungy bass beat floats in...

**INT. AAA - HALLWAY - DAY**

* * *

**Song Cue ♫ ♪ “Consideration” as performed by Rihanna & SZA || Performed by Zay Babineaux**

It’s been a while since we got some classic R&B funk from Zay Babineaux, and the frustration that is finally bubbling over the surface is the perfect catalyst to bring it. Zay does Rihanna proud as he saunters through the halls, angrily spitting out the tune. He does some light freestyling as he goes, expertly dancing around other students as they pay him no attention walking to their next class.

Still overlooked. _Will you ever respect me? No…_

* * *

**INT. AAA - AUDITORIUM - DAY**

Charlie is on stage between run throughs, conversing with Haley and CLARISSA CRUZ. After some offhand conversation about how stressful the week is, during which Charlie is notably quiet, the girls claim they have to get changed before lunch. Each of them give him a quick hug.

While embracing Haley, Charlie seems to realize something. He’s hugging Haley -- and Clarissa -- because they’re friends. And no one is thinking anything of it. They bid him farewell, heading down the hall.

Charlie contemplates the matter as he finishes gathering his things. No one is watching his every move, calculating every single thing he does and trying to pick apart his motives. If that can be true for his friendship with them…

Well, perhaps that’s not _entirely_ true. Riley enters the wings and stops as the girls are finishing up their hugs with him, observing curiously. It bothers her that he seems so completely comfortable with them and yet continues to act so weird with her. She chews her lip, frowning.

**INT. AAA - CAFETERIA - DAY**

By the time she’s made it to lunch with Maya and Isadora, Riley has made realizations of her own. In her mind, there is _obviously_ something deeper to the whole weirdness between her and Charlie that she’s not in on. There’s a greater conspiracy at play, and she’s going to get to the bottom of it.

> **Isadora: **Riley, you know I love a good mystery. But this… is crazy.
> 
> **Maya: **Yeah, what do you think you’re going to “uncover?” This is Charlie _Gardner_ we’re talking about.
> 
> **Isadora: **I repeat. You’re being crazy.
> 
> **Maya: **The most shocking thing you’re going to end up finding out is that all his GAP fare is actually from Banana Republic.

Riley is adamant, though, and a little miffed that they’re not supporting her. Maya points out another truth to the situation.

> **Maya:** Do you think maybe you’re… deflecting a bit? With everything that’s happening with your parents --
> 
> **Isadora: **What? What happened now?
> 
> **Riley:** No, no, that has nothing to do with this. This is a _long_ game, okay? Charlie has been weird with me since the day I showed up at Triple A, you can’t deny that.

Maya shrugs, already losing interest. Riley goes on to highlight how uneven his relationship has been solely with her, and she feels she deserves answers. She’s fixed and figured out problems before, and she’s going to get to the bottom of this one.

Isadora and Maya exchange a look, opting to leave Riley be. She’s happier when she has a project anyway, and happiness is in short supply these days.

**INT. AAA - AUDITORIUM - DAY**

The techies are assembled in the back section, idly discussing the progression of check-in week. JADE BEAMON asks Nate how his meeting went, and he scoffs.

> **Nate:** Easy. I could feed Mister E anything and he would’ve approved it. We all know they only really care about their superstar performers and their fast tracks to fame.

Doesn’t look like any of them are going to disagree. ASHER GARCIA mutters about not wanting to step into Eric’s office ever again, since every time they end up in there it leads to eventual disaster. DYLAN ORLANDO asks DAVE WILLIAMS if he’s thought about what he’s going to say in his meeting.

> **Dylan: **Do you know what you want to do once you blow this popsicle stand?
> 
> **Dave: **There are popsicles here? Why am I only learning this now?!

Nate clarifies, meaning what does he want to do with his future. Dave pauses, thinking.

> **Dave:** Might be nice to help combat the impending danger of climate change and issues with renewable resources by studying environmental sciences or maybe aeronautical space engineering in pursuit of space materials that could be used as new energy sources.
> 
> **Jade:** … oh?
> 
> **Dave:** Yeah. Ooh, or a rodeo clown!

The rest of them exchange content looks. _There it is_. Lucas arrives just as they’re moving past the nice moment, Nate turning the question on him and asking how his check-in went. Lucas scoffs, putting out an air of smugness as he claims he totally blew it off. Eric probably doesn’t even know what hit him after their meeting.

Whereas this sort of behavior from Lucas is usually brushed off, the pressure of the week (and well, the whole year) has worn patience thin. So rather than just rolling her eyes, Jade actually questions whether or not Lucas doing such a thing was a wise decision. Or a polite one, at that.

> **Lucas:** Do you really care what the hell I do in my meeting with counselor Eric?
> 
> **Jade:** No, I’m only saying is being rude to someone who’s just trying to help guide you really something to be proud of?

Oh. There’s a tension to the techie brigade that hasn’t ever really been there before. Dylan clears his throat and tries to alleviate it, saying diplomatically that he doubts it’s a big deal. But Lucas isn’t used to his fellow techies stepping to him, least of all Jade, so he can’t let it go.

> **Lucas:** Do you have a problem with me, Jade? Because if you are, you can just say it to my face.
> 
> **Jade, defensively:** I mean, I am, but to be fair you’re not really listening to anybody right now.

Nate whistles, grimacing. The conversation quickly escalates, Lucas trying to defend himself in a group that’s supposed to be non-confrontational while Jade -- and eventually, JEFF MONROE -- step up and argue against how bad his behavior has been this year. To be frank, it’s obnoxious, and more than that they’re concerned. They’re his friends, and he hasn’t been treating anybody much like friends as of late.

The frustration is valid and the intentions are good, but Lucas isn’t ready to be criticized. He deflects, feeling cornered and essentially hissing by telling them to back off before storming out.

Dylan and Asher immediately leap up to go after him, the former disappearing quickly but the latter not making it out before they come for him, too. Jeff points out that they’re not really helping with Lucas’s attitude when they back him up all the time.

> **Asher:** Well, what am I supposed to do? Nothing?
> 
> **Jade:** No, but do you think you’re making anything better by just enabling his shitty behavior? I know you don’t -- you’ve _told_ me you don’t. If you’re really his best friends, you could be doing more to combat it and make him… I don’t know, check himself.

Asher blinks, absorbing the blow from his other best friend. Knowing that she’s right, hating the fact that she is. Then he huffs, following the same pattern as Lucas.

> **Asher, sharply: **Let me handle my own problems, alright?

Asher whips around, jogging after Lucas and Dylan. Jade shakes her head, exchanging an exasperated look with Jeff. Dave reaches forward and pats her on the shoulder.

**INT. AAA - HALLWAY - DAY**

Riley meets with Charlie at his locker, cheerfully greeting him and suggesting that the two of them partner together for their English assignment. Crazy, to still have other homework in the midst of all this chaos, but oh yeah, they’re also high school students. Charlie agrees, liking the prospect of working with Riley again even if he’s super stressed about everything else.

She accepts his agreement as commitment, happily telling him she’ll text him with ideas before flouncing off. She’s being a bit too peppy, even for Riley, but before Charlie can think on it too much he’s delivered an entirely new distraction.

Zay is marching down the hall, in a clearly worse mood than he normally lets show at school. Charlie frowns, jumping out to catch him from passing him by and pulling him back towards the lockers. He tries to get him to talk to him, asking what’s going on.

Zay recaps the gist of the meeting with Eric, getting worked up all over again. It’s obvious how deeply this hurt runs, regardless of how well he’s buried it down over the last three years. Charlie attempts to talk him down but he’s beyond that at the moment, totally emotionally overrun. So Charlie braves a different approach entirely, taking his shoulders and pulling him into a hug.

A hug. In the middle of the hallway. Where anybody can see. Zay tenses up at first, glancing around them with trained hesitation.

> **Zay: **Charlie, man --
> 
> **Charlie: **It’s okay._ [ a beat, softer ]_ It’s okay.

It’s okay, because he decided it’s okay. Charlie said it’s okay, and so it is. Zay hesitates for a moment longer before sinking into the embrace, actually gleaning comfort from it. Charlie closes his eyes, Zay tucking his head into his shoulder.

The rest of the school passes them by, not even giving them a second glance.

**INT. AAA - BLACK BOX THEATER - DAY**

Angela is in the black box conversing with Harper, the two of them carrying on a rather pleasant conversation. When Angela asks about how she’s faring working with her admittedly stubborn boyfriend, Harper is spared from having to comment when Maya shows up early to class. She exchanges an enthusiastic hug with Angela, the latter commending her on her extensive and impressive future itinerary. Not that she had any doubts Maya would come correct.

When Angela shifts gears and quietly asks Maya about how she’s handling Katy’s relocation, she deflects and claims with diva levels of confidence that she’s fine. Unideal, but she’s trucking on regardless. Nothing to worry about here.

Other A class members begin to filter in, including Zay and Charlie. Zay catches the soft, fond exchange between Maya and Angela, another subtle reminder of the favoritism that has always existed in their class.

As Maya settles into her seat, she looks around before tapping Riley’s shoulder.

> **Maya: **Where’s Izzy?

**INT. AAA - AUDITORIUM - DAY**

Isadora is skipping performers lecture, wandering into the auditorium to try and catch the techies. If she’s having trouble finding an anchor elsewhere, then maybe a return to form is exactly what she needs.

She only finds four of them, Lucas, Dylan, and Asher still MIA. They’re hanging around on the stage, mood deflated and unusually quiet after their earlier conversation. Jade is focused on fixing a costume piece, but her hands are trembling as she works with the needle and thread.

Isadora’s arrival is a surprise to all of them, and she completely misreads the tone of the room. She makes a joke about how uncharacteristically grim they all are and it doesn’t go over well. Nate makes a backhanded comment about how she loves to just float back around to say hi whenever it’s convenient for her, and Jeff subtly seconds the notion by asking Isadora what she’s even doing there when she should be in class.

> **Isadora:** Oh, so what, suddenly we’re all saints who never skip class? Didn’t realize how much could change in such a short amount of time.
> 
> **Nate:** Yeah. No kidding.
> 
> **Isadora:** … okay, what the hell is up with you guys?

Keeping it short and sweet, essentially, Lucas sucks. Isadora is like okay, tell me something I don’t know, but that doesn’t settle well with Jade.

> **Jade: **Actually, Isa, you _don’t_ know. Because you haven’t been here spending all year with him. You dropped him when you dropped the rest of us and haven’t had to deal with it since.

Whew, Jade is on fire today. Isadora blinks, wondering if all of them are seriously upset with her. She argues against dropping them, struggling to find a defense and stating once again that she didn’t completely drop tech.

> **Jeff: **Okay. Sure.
> 
> **Isadora:** I didn’t. I told you guys, I’m doing both --
> 
> **Jade:** Are you? Really? Because I haven’t talked to you in like, _months_. You didn’t contribute any tech work to the last four weeks of performances, and we built all of the materials for_ Into the Woods_ on our own, including after someone destroyed it the first time around.
> 
> **Isadora: **Well, if you want to get pissed about _that_ \--
> 
> **Jeff: **You haven’t sat with us for lunch since the end of last year. You don’t participate in the group chat.
> 
> **Nate: **Which is dead anyway, considering everyone is in such a pissy mood with Lucas being a fucking demon since you totally dumped him for the spotlight.

Isadora snaps, growing defensive. She states she’s not going to take responsibility for Lucas’s horrible attitude, but she admittedly has trouble taking responsibility for her own faults too. Turns out pride runs just as deep in the techie brigade as it does in the performers, at least when they’re fracturing apart and no longer a united front.

> **Isadora: **I tried to tell you all, I’m doing both --
> 
> **Jade, harshly:** No, you’re not, Isa! You’re not doing both! You dropped your tech responsibilities and you know it. _[ choked up ] _And you dropped our friendship too.

Isadora shakes her head, but no words come out to argue against her. Jade’s eyes are glossy, and she chews on her cheek to keep it together. Nate delivers the final blow, crossing his arms and scoffing.

> **Nate:** Like mother, like daughter.

That’s one step too far. Isadora’s hurt flares to anger in an instant. She marches forward and steps up onto the acting block in front of Nate, putting her at the perfect height to land a resounding _slap_ across his face.

There’s a second of silence, and then all hell breaks loose. Isadora seems to only recognize what she’s done as the heat of the moment passes, her emotion shifting to blank horror on her face. Jade jumps up to pull Nate away from her, attempting to make sure he’s okay until he shrugs out of her grasp in embarrassment.

In spite of everything that’s been said, it’s Dave -- normally cheery, oblivious Dave -- who ends the confrontation. He glares at Isadora over his shoulder as he jogs over to catch up with Nate.

> **Dave:** What the hell are you still doing here?

The four of them storm out in a flurry, leaving Isadora standing alone on the acting block. The doors slam, and then she’s surrounded by the imposing silence of the auditorium. Alone on the stage, an island of isolation that she’s somehow created all by herself. No way to escape it.

* * *

**Song Cue ♫ ♪ “Waving Through A Window” as performed by _Dear Evan Hansen_ Original Broadway Cast || Performed by Isadora De La Cruz**

Isadora starts the ode to feeling alone from her spot on the acting block, tiny against the vast setting of the empty auditorium. She spends the first verse trapped on it, seemingly struggling with how to dismount from the position she’s found herself in. Her Converse -- the same black ones that Lucas said were her favorite -- toe the line from stumbling off the edge, but she can’t bring herself to step off in any direction.

**INT. AAA - HALLWAY - DAY**

As the number progresses, Isadora makes her way dazedly through the halls as classes are in session all around her. She’s on the outside looking in of every classroom, every social setting, separated by windows from her classmates.

She starts to pick up her pace as the bridge swells, ending up running down the hallway. Quiet settles for just a moment…

**EXT. AAA - LUNCH COURTYARD - DAY**

Until it explodes into the final third of the performance, Isadora giving the impassioned solo her all. A light snow is falling, sprinkling the scenery in frost. She’s spinning and dancing on the constraints of what used to be her and Lucas’s usual table, close ups of her Converse depicting that same risk of slipping right off the edge multiple times only to step back to safety at the last moment.

This time, the conceit of being on the outside looking in has been inverted. All around the windows looking into the courtyard, Isadora’s classmates and other AAA students glare at her through the glass as they fill in the background vocals. She can’t communicate with any of them, she can’t connect -- she’s simply on display, able to be ridiculed or criticized without any sense of how to get back to join them.

**INT. AAA - AUDITORIUM - DAY**

As the song comes to an end, Isadora is back on the acting block. Out of breath, obviously emotional, staring down at the ground from where she stands only a couple of feet above it.

Still, she can’t bring herself to move, frozen with uncertainty.

* * *

**INT. MINKUS HOME - NIGHT**

Farkle is still working on his presentation, spread out on the dining room table. He’s working obsessively, unable to keep still as he researches details for his career trajectory and adds them to his poster board. Even while he’s thinking he’s moving, fingers tapping against his arms or shifting from foot to foot.

Either way, it’s an abrupt shift from how lethargic he’s been, which seems like a relief to JENNIFER MINKUS. She asks him how it’s going as she comes out for a quick snack before heading to bed, suggesting he not stay up too late. He waves off the concern, but his investment in the project is loud and clear.

> **Farkle:** Everything else going on right now doesn’t matter. I’ve been stuck on -- and it’s all -- it’s meaningless. What matters is _this_. The dream._ [ ripping something off the board without hesitation ]_ If I get this right, then everything else won’t matter.

A bit single-minded, but passionate. Passion is a good thing, so this is an improvement if anything. Jennifer gives him a quick kiss on the cheek that he lightly shrugs away from before she heads off, leaving him alone again.

Despite how much progress he’s making, the longer we stay with him the more obvious it is that he’s struggling. He has energy, that’s for sure, but it’s all over the place. He can hardly focus, restless and growing frustrated over nothing in particular.

He takes a second and covers his face, sliding his hands up and tugging at his hair as he exhales. Glancing forward, the spark of an idea glimmers in his eyes.

**INT. MINKUS HOME - KITCHEN - NIGHT**

Rattles and bumps accompany a handful of pill bottles hitting the countertop. Farkle is digging through the family pill cabinet, searching for something in particular.

Finally, he finds it. A bottle specifically for ADHD, prescribed to Uri Minkus. He opens it and pops a couple of them, tossing everything back into the cabinet haphazardly.

Just has to get through the week. Just the week…

**INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - NIGHT**

Lucas is using his brick of a laptop again, room otherwise dark as he works. He’s got a few pamphlets on the bed next to him, and his browser has a dozen or so tabs open with different college sites.

He’s trying to actually take the future seriously, but it’s too much. His focus goes to key words on each page like “prestigious,” “well-rounded,” and “tuition.” The expectations and prices always feel far too high, making him frustrated.

Other words jump out to him too, none more intimidating than “passion.” College is for people who have ambition -- who have potential -- and Lucas knows he has neither.

But he knows this isn’t just going to go away. He switches back to his school email tab, a message open from Eric on screen. It mentions how poorly their first meeting went and requests that Lucas come in for another meeting as soon as possible so they can have a more constructive discussion.

Lucas scowls, slamming the computer shut. He pushes it off the bed along with the pamphlets, falling back onto his mattress. He yanks his blanket towards him and curls up towards the wall, hiding from it all.

> **Riley, pre-lap:** You really don’t think we can do any better than that?

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley is picking away at her assignment as well, but she’s on the phone with Charlie as she works. They’re discussing their English assignment, and from the sound of it they’re not giving it very much effort considering everything else going on. Charlie suggests they keep it simple, but Riley makes a point of still insisting that they meet up after school sometime to work on it.

> **Charlie: **Is it really that important to you?
> 
> **Riley:** … I just like to work face-to-face, that’s all. You know, collaborative communication.

Maya rolls her eyes from her spot on her bed. The conversation is interrupted when Cory raises his voice from the living room, making both girls jump. Topanga matches his volume a second later, Maya sitting up and locking eyes with Riley.

> **Riley:** I… gotta go.

Riley hangs up without further explanation. Before she can say anything Auggie arrives at her door, looking wide-eyed and concerned as to what is going on out there. He asks Riley what’s happening, and she quickly pulls him into the room out of trouble before rushing out to investigate herself.

Awkwardly, this leaves Maya with Auggie. She glances at him and gives him a tight smile, nodding a ‘sup at a loss of what to offer otherwise.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley leans around the doorway to the living room as Topanga and Cory escalate in their argument, obviously both impassioned over it. She can’t even find a time to jump in and try to break it up -- she doesn’t know where to begin.

It doesn’t take long to figure out the problem, however.

> **Cory: **You can’t take them from me. You’ve already taken everything else. You can’t just decide you want to hit the reset button on your life and then take _my son_ with you!
> 
> **Topanga: **Don’t be dramatic, Cory. I’ve told you exactly why but you’re refusing to listen -- the schools are far better upstate, and he’d have a far more stable lifestyle in a neighborhood that’s not the middle of Manhattan.
> 
> **Cory:** _[ with a derisive laugh ] _Stable? _You’re_ talking about stable?
> 
> **Topanga: **Cory --
> 
> **Cory:** You’re the one who disrupted all of our lives in the first place! So don’t talk to me about _stable_, Topanga!

So that’s it, then. Topanga isn’t just removing herself from the equation of the Matthews family -- she intends to take Auggie with her. Riley is stunned, stepping into the room but not sure what to even say.

Topanga is done with the discussion anyway. She criticizes Cory’s theatrics again, pulling back on her coat and heading towards the door. She stops once she’s opened it, saying her last piece.

> **Topanga: **I hope this won’t become a big thing. I am the litigator, remember. I think we know who would win a case.

This hits Cory hard. There’s silence in the room after she closes the door behind her, Riley watching her seemingly frozen father warily.

> **Riley:** … dad?

And then it’s over. Cory collapses into a full break down, all of the emotion over the separation that he’s been trying to compartmentalize for the sake of everyone crashing down on him. Riley jogs over to help him and guides him towards the couch, doing her best to comfort him.

But it’s clear Riley doesn’t know how to deal with this development either. Her expression is blank as she hugs her father, totally forgetting about everything else piling up on her plate.

**INT. AAA - ERIC’S OFFICE - DAY**

Isadora is in the seat across from Eric, finishing up her discussion about the future. Although she does an excellent job of maintaining a poker face, the conversation between the two of them seems to reflect everything else she’s feeling conflicted about -- where she ends up depends on what she wants to do, and what she wants to do depends on who she is, and how does she begin to figure out who she is when she feels like she’s being pulled in a hundred different directions?

There’s a lot she could choose to dissect about the situation, but Isadora chooses to seek help for none of it. She merely nods along to Eric’s tentative guidance about her choice in schools, but she makes an escape when he tries to get her to talk about what else might be going on. The aloof mask might be fooling others, but it doesn’t fool him.

Today seems to be a particularly difficult day for meetings. SARAH CARLSON acts nonchalant in her one-on-one before bursting into tears, surprising Eric and causing him to cautiously pass the tissue box across the desk. Jade is already on thin ice emotionally and basically refuses to talk at all, speaking only about her future college programs for costuming. Her voice warbles even in discussing that, and Eric is sure if he asks her anything else there will be waterworks.

Dylan is a mess all his own, but more for _Eric_ than himself. All things considered, Dylan is actually quite well-adjusted and happy with his plan for the future -- which is to say, he hardly has a plan at all.

> **Dylan:** I might go to college, but also I don’t know. Seems like a lot of money, especially when I don’t really wanna _do_ anything, you know?
> 
> **Eric:** … what are you hoping to do in the future, then?
> 
> **Dylan, excitedly:** Well, the main thing is to be a good partner, father, and homemaker. My dad had to do that all on his own when my mom died, you know, so he instilled the importance in me from an early age. Then I guess if I have time, I’ll keep making my videos. You’ve seen my vlogs, right?_ [ with a shrug ] _As long as that keeps being fun, I figure I can do that along with being Asher’s number one fan.
> 
> **Eric:** … and you don’t… Dylan, I’m just wondering if…_ [ quickly ]_ you’re banking your entire future on Asher, and you don’t think maybe that’s a bit short-sighted?
> 
> **Dylan: **Actually, I’m near-sighted. But I wear contacts.

Eric looks as though _he’s_ going to start crying.

He’s still carrying that exhaustion when Farkle gets in the hot seat, expressing far more “vision” than Dylan. He bullets through his presentation, speaking with confidence but also as if he’s out of breath. He’ll start sentences and then stop them or backtrack to start a different thought, nervously pulling at his hair when he gets distracted.

Once he’s finished, Eric offers him a bright smile. It’s a great plan, lots of ambition and forward-thinking, and he loves to see that. Farkle also clearly put a lot of heart into it, and Eric commends that. The future certainly isn’t worth investing in if there’s no heart.

However… he has to point out the fact that he lacks alternative options. He’s set himself up to have one path, and it’s clear that Eric is concerned about what happens if that path doesn’t work out exactly as planned.

> **Farkle, blankly: **… what?
> 
> **Eric:** Again, I’m not saying that this isn’t an excellent plan. It just lacks periphery, that’s all. You want a contingency plan -- your options that you’ll consider if this one-way ticket doesn’t go as planned.
> 
> **Farkle:** I don’t -- this is the plan. This. There’s nothing else if -- I put a lot of hard work into this.
> 
> **Eric: **I know that, and I’m not saying this won’t work. I’m only suggesting that --
> 
> **Farkle: **I put everything into this. _Everything_. It’s going to -- you can’t tell me that it -- this is my future!

Eric can tell he’s not taking the conversation well. He attempts to placate, speaking delicately and stating that he’s proud that Farkle has such a sense of belief in what he was meant to do. Many people don’t have that drive, and that’s amazing. But it’s only wise to consider a contingency plan in the off chance that the dream… remains a dream.

Farkle seems as though he might actually have another diva meltdown, it’s written all over his face -- when suddenly he goes completely calm. He thanks Eric for his guidance shortly, gathering his things in a flurry. Eric encourages him to sit back down so they can discuss those options, but he claims he’s heard everything he needs to hear.

> **Farkle:** My future is clear to me now, Mister Matthews. Thank you for your time.

He delivers the sentiment with disarmingly cool confidence. Then he spins on his heel and exits without another word. Eric looks like he’s going to go after him, but a phone call pulls him back to his desk. He assures the teacher on the other line that he’ll be right there, obviously having to go put out another fire.

**INT. AAA - HALLWAY - DAY**

Farkle walks at a swift pace away from the counselor’s office, but he doesn’t seem to have a set direction. Whereas his facade held up in front of Eric it’s starting to splinter now, his body trembling and breathing shallow. He dumps his presentation materials in the trash without looking, clearly desperate to be rid of them.

> **Haley: **Don’t throw another tantrum.

Haley is just the first voice to address him, Farkle glancing over his shoulder as she passes him. But the glimpse of her is blurry, like it’s just out of the corner of his eye.

> **Charlie: **Guess this isn’t turning out like you thought, huh?
> 
> **Yindra:** Only got yourself to blame that you’re unstable.
> 
> **Harper: **You’re nothing new.

Farkle flinches with every word thrown in his direction. He spins to try and catch them digging at him but whenever he turns to look they’re long gone, evading his anxious glare.

He walks faster, more sentiments from his classmates that have echoed in his head for three years following him through the hall.

> **Maya: **Coward.

Farkle whips around as he slams right into someone -- Maya herself. She tosses him a sneer and tells him to watch where he’s going, only her expression shifts when she gets a better look at him. She hesitates, venturing another word.

> **Maya:** Farkle… are you okay?
> 
> **Farkle:** I -- I’m --

He stares at her, as if just realizing she’s actually there. Then he pushes past her without further comment, jogging towards the auditorium. Maya spins to watch him take off, debating whether or not she should go after him.

**INT. AAA - AUDITORIUM - NIGHT**

The accusations and voices are growing louder, what feels like the entire A class waiting for him in the auditorium as he stumbles in through the wings.

> **Lucas:** Go on, keep spiraling for attention.
> 
> **Isadora:** As if he has a shred of decorum not to.
> 
> **Clarissa:** Hasn’t he had _enough_ drama for a lifetime?

The word “enough” seems to echo particularly strong, leaving a ringing in Farkle’s ears. The jeers continue from all around him, spinning him into a frenzy.

> **Lila: **God, you are such a disease.
> 
> **Eric: **Did you really think that this was going to work out? After --
> 
> **Riley: **Everything you’ve done?
> 
> **Farkle, breathless:** No… no, you forgave me.
> 
> **Riley:** And you think that makes a difference? You think that’s _enough_?

Farkle screws his eyes shut, turning away from her. He covers his ears but it doesn’t do any good, only accenting the blood pounding in his ears.

> **Harper: **That horrible attitude of yours isn’t --
> 
> **Farkle: **Enough --
> 
> **Stuart: **And when are you going to start thinking seriously about --
> 
> **Eric: **Your future?
> 
> **Lila:** If you’re going just going to waste your existence --
> 
> **Riley: **Running your mouth --
> 
> **Maya:** Consumed with inferiority --
> 
> **Angela: **Do you remember what I told you, Farkle?
> 
> **Jennifer:** I’m sure your friends are --
> 
> **Maya:** Done.
> 
> **Farkle: **_Enough_ \--
> 
> **Asher / Dylan:** You don’t even know who you are!
> 
> **Lucas: **Should’ve known this is exactly how things would go.
> 
> **Stuart:** A fad.
> 
> **Angela:** Otherwise it’s just --
> 
> **Eric: **Lacks periphery --
> 
> **Isadora:** Fucking isolated --
> 
> **Maya:** Monster --
> 
> **Zay:** Is it finally --
> 
> **Farkle:** _ENOUGH_!

His fraught exclamation clears the chaos until there’s nothing but silence, resounding and somehow more imposing than the constant sound. Because it leaves him alone -- and he’s so tired of being alone.

* * *

**Song Cue ♫ ♪ “Santa Fe” as performed by _Newsies_ Original Broadway Cast || Performed by Farkle Minkus (starting at 00:22)**

Farkle stands center stage, trembling, staring out into the empty house. Standing in the place he’s always felt destined to occupy, only now it doesn’t feel like he belongs there anymore. It’s a dream, nothing more, and he’s a nothing never meant to get it right.

It’s this cold realization that provokes the rawest and most spectacular performance from Farkle Minkus. As he barrels through the desperate plea to escape, it's as though we’re watching him go through the five stages of grief towards the dream that he let totally consume him for as long as he can remember.

And what it leaves behind is a broken shell -- without the dream, he decides, he’s nothing. Empty. _“Trapped where there ain’t no future, even at sixteen.”_

By the time he makes it to the last few lines and the volume drops to a soft piano, Farkle is back at center stage, right under the spotlight. His eyes are shining in the lights, seeming more fragile and smaller than he’s ever seemed before. As he riles himself back into the final emotional crescendo, he drops to his knees and expels everything he has left in him into those final notes.

* * *

Then he collapses in on himself, a huddled form isolated under the spotlight and otherwise surrounded by darkness. The song ends, sending us back into the quiet of the auditorium.

The only sound is Farkle’s muffled sobs, shoulders shaking as the screen smashes to black.

**INT. GARDNER HOME - LIVING ROOM - NIGHT**

Charlie is still working on his assignment, drawing a blank as his notebook page is completely empty. How is he supposed to paint a picture of his future when he can barely paint an accurate picture of the present?

He straightens up when his father enters the room, exchanging a comfortable back and forth with him as he settles into the armchair a few feet away and opens the newspaper to read. Charlie hesitates, chewing on the end of his pen before he braves the question of asking Ambrose for advice on his assignment. 

> **Charlie:** I know we already talked about it at dinner the other night, but I’m… I’m still having trouble. I was just wondering if you had any other thoughts or... words of fatherly wisdom?
> 
> **Ambrose: **Well, it’s funny that you think fatherhood comes with wisdom.

Charlie cracks a smile as Ambrose chuckles at his own joke. Then he gives it some thought, clearly taking the matter seriously. It’s easier to talk about it, just the two of them, rather than with the whole family.

> **Ambrose: **Honestly, bud, I think that the most important thing is you choose what makes you happy. You don’t want to spend your whole life doing something that doesn’t feel true to you. Do you know what I mean?
> 
> **Charlie, tightly:** … yeah, I do.

Ambrose gives him a smile, going back to his paper. Charlie drops his head back down to his notebook, expression growing grim. His own father doesn’t even know what’s true to him. If that’s the key to a good future, then he knows he’s damned.

Charlie swallows hard, shutting the notebook.

**INT. FOSTER HOME - KITCHEN - NIGHT**

Isadora is at the sink, doing dishes for the house even though she clearly would rather be out of sight and out of mind. She’s gritting her teeth as she cleans, on edge from all of the pressure of the week.

STEPHEN VAN HERSCHING brings in the last of the dishes, giving her a grateful smile as he passes them to her. In an attempt to be an attentive parent and work on repairing his relationship with Isadora that seems to have been deteriorating lately, he innocently ventures the question of how school is going. She answers shortly, explaining the gist of the week.

Stephen is interested, eagerly inquiring as to what she’s been thinking about. Only he doesn’t phrase it all that well, and it comes off more like an interrogation than soft interest. Isadora doesn’t keep her mask intact after holding it up all day, snapping.

> **Isadora: **I don’t know, okay! I! DON’T! KNOW!

She starts to go into a meltdown, trying to escape the conversation as KAREN VAN HERSCHING enters the room to see what all the commotion is about. She incidentally also criticizes Isadora for her noise level, stating that she’ll wake her younger siblings. The whole argument turns into a huge miscommunication, the foster parents mistaking her emotion and meltdown for increasingly rude behavior whereas Isadora just really needs space.

It continues to escalate until JERICHO TORRES sees what is going on and runs to get BEATRIX TORRES. She steps in and pulls Isadora out of the situation, flatly telling the Van Herschings that she’ll handle it.

> **Isadora:** I don’t need to be _handled_! Stop talking about me like I’m not here! I’m here! I’m here! I’m not invisible, I’M HERE!

Beatrix doesn’t take it personally, persisting in removing her from the room. Karen and Stephen share a loaded look.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley has forgone the future entirely and is throwing herself into her new investigation. She scours through Charlie’s social media, currently on Instagram and scrolling way back into last year to look for any sort of indication as to what’s really going on with him. She knows for a fact that he’s all about promoting false narratives, but she doesn’t see where that involves her or when the lines are drawn.

Unfortunately, she makes the cardinal error of lurking. She accidentally double-taps and likes a photo from last year, letting out a loud _oh, shit_ as she frantically unlikes it.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

That doesn’t stop Charlie from getting the notification, though. He’s just getting ready for bed when his phone lights up, displaying that Riley liked his photo. He frowns, opening the app and checking which photo she liked.

It’s a photo from around the time of _Les Miserables_, so a long way back. Even more concerning, it’s a photo of him and Zay during the phase where they were spending a lot of time together. Riley lurking is confusing enough, but someone zeroing in on him and Zay in particular…

> **Eric, pre-lap: **Why do you think that is?

**INT. AAA - ERIC’S OFFICE - DAY**

Charlie is staring at the desk, seated across from Eric. He’s startled out of his daze, blinking and coming back down to Earth.

> **Charlie: **What?
> 
> **Eric: **You said you were having trouble figuring out your plans. I asked why you thought that might be.
> 
> **Charlie: **Oh. Um, probably just the uncertainty of it. Lots to um… consider.

Charlie is not doing a good job of appearing in top shape like usual. Eric pauses, cautiously shifting gears and attempting to question if there’s anything else going on that Charlie wants to discuss. He mentions a couple of other issues his fellow students have been having in vague terms, gently finding ways to allude to possible identity issues that he might be having. He can remember being in the closet himself, and he evidently wants to help Charlie even if he’s not sure how to go about it.

Evidently, it doesn’t come across as intended. Charlie gets the message, but it only instills more paranoia in him that people are onto him. Riley and Eric are connected after all, and if they know, who else is going to end up in the know?

Eric tries to smooth things over and focus on the positive, highlighting how when Charlie graduates he’ll find a sense of personal freedom and maybe the future won’t seem so complicated to figure out. But with his anxiety, all Charlie can focus on is the here and now, and right now he knows he needs to escape. He thanks Eric for his help, getting up to go.

Flipping back to Eric, he poses a new question.

> **Eric:** You’re absolutely sure there’s nothing you want to talk about?

As we rotate back around, it’s no longer Charlie in the hot seat, but Asher. He’s maintaining his composure, voice even and expression neutral as he confirms that he has nothing to discuss.

But Eric has had Asher as a student for three years, just like the rest of them, and he knows tells when he sees them. Asher might be shy, and has anxiety, but he’s cheery and pleasant more often than not. Usually when he’s in the chair opposite him, the conversation is enjoyable -- far from the strained, succinct exchange they’re having now.

When he rephrases the question, Asher states that he did the assignment and presented it, so he doesn’t know what else he’s expected to be discussing. In fact, he gives him the short version again, speaking slowly and clearly without tripping up once. Rehearsed, practically perfect. Eric relents, but he gives him a piece of advice before he goes that lands.

> **Eric:** You’re well aware of your own limitations and needs, I know that. You demonstrate immense maturity, outshining many of your peers in that regard despite being younger. And you’ve never been trouble -- in fact you’ve helped _prevent_ trouble on a number of occasions. That doesn’t go unnoticed. _[ a beat ]_ I merely suggest that avoiding trouble doesn’t have to mean staying quiet. If you have something you think you need to say, then by all means, you should speak up. In fact, it may do more good than the harm you think it will.

For the first time all meeting, Asher’s neutral demeanor cracks. Uncertainty flashes across his features for half a second, then he pulls it back together and offers a nod.

> **Asher: **Thanks, Mister Matthews. I’ll think about it.

Whether or not he actually will is impossible to tell.

A couple other students occupy the chair opposite him, Eric growing more flustered as they progress. It all culminates with Lucas’s second meeting, and he’s changed his approach from avoiding the topic entirely to going absolutely batshit with his proposals. He’s totally in his element too, acting like he owns the place. He’s got his feet up on the desk, arms behind his head and speaking with a breezy nonchalance.

> **Lucas: **I looked into “space cowboy,” but as it turns out you need a degree in aerospace engineering as well as a license to boy cows, and that seems like a lot of work. So then I thought, well, if I don’t have the capacity to _work_, what else is there in this capitalistic hell we call society? Sure, I could probably enter myself in human cage fights and scrap to death for spare change, but I think that would hurt after a while and to be honest, I think I’d feel a bit like a piece of meat if I took up that mantle. Who would I be fighting to impress? The bourgeoisie? Hard pass.
> 
> **Eric:** I --
> 
> **Lucas:** But after some deep, probing soul-searching, I finally hit the one. _[ a beat ] _Trophy husband.
> 
> **Eric: **That --
> 
> **Lucas: **Now, I know what you’re thinking. To accomplish such a grand ambition, I’d have to get someone to _like_ me. And that’s a pretty hefty task, believe me I know, but I’ve devised a work around. This is, as Dave would say, galaxy-brained thinking, Mister E. _[ holding out his arms ]_ I’m going to put an ad on Craigslist.

He’s finally done it -- Eric Matthews is at a loss for words. He’s completely stumped as to where to take this conversation, as Lucas has driven it right off the cliffside and effectively derailed any meaningful discussion.

> **Lucas: **My only trouble is that I cannot decide whether I should advertise myself as “seeking companionship,” or if I should just forgo that entirely and tell it like it is -- that I really don’t have anything to offer and I’ll pretty much do whatever as long as they pay me. But does that make me sound trampy? I’m white trash, yeah, but I do have _standards_, you know?

As much as he’s enjoying giving Eric an ulcer, Lucas’s fun comes to an end the moment the door opens behind him. His eyes widen as JACK HUNTER enters, immediately glaring at him with his feet up looking so high and mighty. He snaps at him for wasting all of their time, knocking his legs off the desk.

> **Jack:** And get your feet _off_ the table, who do you think you are?
> 
> **Lucas:**_ [ straightening up, sheepish ]_ I thought this meeting was a one-on-one.
> 
> **Jack:** It was. But you had your first chance, and as far as I can tell it looks like you’re fumbling this one too. So here we are, third time’s the charm. Don’t strike out.

Jack crosses his arms, standing next to Eric and watching as the counselor tentatively attempts to explain to Lucas that he brought him in because he was having difficulty getting an honest conversation out of him. He thought if he had another mentor present, he might be willing to take the discussion more seriously.

> **Lucas:** _[ under his breath ] _Don’t flatter him.
> 
> **Jack: **Well, either way, I’m here. So let’s talk, shall we? Do you want to talk about why you’re insisting on being such a --
> 
> **Eric: **Thoughtful words, thoughtful words…
> 
> **Jack: **… why you’re making things so difficult for no reason, or do you just wanna jump right to the part where we try again?

Bravado dismantled, Lucas gets bristly as Jack forces him to actually consider his options for the future. With actual pressure to deliver, the issue becomes plain as day pretty quickly -- Lucas doesn’t want to think about the future because as far as he’s concerned…

> **Lucas, snapping: **What do you want me to say? I don’t have any plans! _[ cracking ] _I have no talent and I have no drive, so what’s the fucking point? You want my future? Great, here it is --_ I don’t have one!_

Lucas jumps to his feet, knocking over a bunch of stuff before storming out. Eric flinches, obviously reaching an emotional breaking point himself this week. Jack frowns, clambering over the stuff on the floor to call after him.

> **Jack:** Lucas! LUCAS JAMES!

He’s long gone. Jack turns to look at Eric over his shoulder, shaking his head in disbelief.

**INT. AAA - HALLWAY - DAY**

* * *

**Song Cue ♫ ♪ “Loser” as performed by Glee Cast || Performed by Asher Garcia & Dylan Orlando (feat. AAA Juniors)**

Lucas storms down the hall, passing right by Dylan leaning against the wall. He’s strumming the guitar opening to the number, only he doesn’t quite… look like himself. The discrepancy is in how he’s dressed, sporting a lot of dark hues for the kid who wears bright yellow at any given opportunity.

As the camera pans away from him, it slowly finds its way to Asher. He’s following the performance dress code, dressed completely unlike himself in dark jeans and a grungy long sleeve crew neck. However, it’s the snapback that gives it away -- they’re both channeling Lucas, some sort of weird representation of him rather than actually themselves.

Asher kicks off the song, Dylan sauntering up still playing his guitar as they stride through the halls. They both look directly at the camera, the breaking of the fourth wall creating a pointed discomforting feeling. They look away at the end of the first verse, turning to face one another with the same sullen expressions on their faces. Dave and Nate join them, dressed similarly, Dave delivering the _“yo,” _before they launch into the rest of the song.

From there, the general conceit of the number becomes crystal clear. Wherever Lucas is -- in class, in the booth, walking through the halls, the crew of them are right behind him echoing the same exhausted sentiment. He can’t escape it no matter where he goes, and as the song progresses, more and more of his classmates join the throng. _I’m a loser, baby, so why don’t you kill me? Why don’t you kill me?!_

In the bridge, as the music seems to play backwards and in warped tones, the image of the A class becomes warped as well. They’re seated along the edge of the stage, looking towards the booth, but it’s all jarring close ups and looped moments. It’s familiar, but it’s not reality. A representation of how easily someone’s perspective can be bent...

Back in the hallway, there’s one potential light moment of reprieve, when Dave seems to forget the message and changes into more positive thinking (_“I’m a driver, I’m a winner,”_). But Lucas glares at him, then shoves him out of frame.

By the end of the song, what feels like the entire student body of AAA is marching behind Lucas as he moves through the halls, a resounding chorus asking why no one will kill them.

* * *

It only comes to an end when Lucas finally snaps, whipping around and shouting at them.

> **Lucas:** Oh my God, could you _SHUT. UP_?

Only when he spins and marches away, Dylan, Asher, and the rest of them aren’t there. The hallway is completely empty.

**INT. AAA - HALLWAY - DAY**

Lucas isn’t the only one who feels like he’s losing his mind. Charlie is on edge as he makes his way through the halls, nearly bumping into people and apologizing offhandedly.

Zay is waiting for him by his locker, noticing his odd demeanor immediately. He straightens up and asks what’s going on and if he’s okay, but Charlie isn’t focused on that.

> **Charlie:** What are you doing here? You can’t just stand at my locker.

The statement isn’t said harshly (distractedly would be a better descriptor), but it still stings. Zay tries not to take it personally, instead trying to figure out what the hell is up with him. Charlie is over it a second later anyway, starting half of a conversation while glancing over his shoulder. He spins his locker combination but doesn’t open it, hands shaking.

Zay takes his upper arm and gets him to look at him, asking again if everything is okay. Charlie hesitates, examining him and trying to decide whether to talk about any of it. But he knows Zay is already having a rough week, and he doesn’t want to burden him with his stupid bullshit that he still hasn’t been able to get over after eight months. He’s already being unfair to him and he knows it, not to mention he fears that if he starts opening up, he won’t be able to stop.

So he deflects instead, claiming everything is fine despite every obvious sign that it isn’t. Distracted and without thinking, he leans forward and gives Zay a kiss on the cheek before jogging off to get away.

Zay is stunned, freezing and absorbing the moment. He looks around them to make sure no one else noticed, then looks over his shoulder with a bewildered frown at the direction Charlie ran in. But he’s already long gone.

**INT. AAA - DRESSING ROOM HALL - DAY**

Charlie darts into the dressing room hall, running right into Clarissa and Haley. They greet him, asking him how his meeting with Eric went. Clarissa notices his weird behavior first, pointing out that he’s sweating. They ask him if he’s okay and he breathlessly states he’s fine, although his delivery is not convincing.

> **Haley: **Are you sure? You look kind of pale.
> 
> **Clarissa: **We can walk you to the nurse?
> 
> **Haley:** Or we can talk about --
> 
> **Charlie:** I can’t. I can’t talk -- I can’t talk right now. I’m sorry, I have to --

Charlie darts away from them, pushing deeper into the auditorium. Clarissa and Haley exchange hesitant looks, obviously wondering if they should go after him or leave him be. This week has everyone in hysterics, after all.

**INT. AAA - COSTUME LOFT - DAY**

Charlie doesn’t find sanctuary until he gets to the costume loft, relieved to find that no one else is around. He lets out a painful exhale and stumbles onto the platform, legs shaking so much that he basically collapses into a pile of costumes. He starts to push himself back up but then pauses, giving up and laying back against them in defeat.

He presses his palms to his eyes, trying to talk himself down from the panic. The words start as variations on telling himself to breathe and transform into a prayer, Charlie murmuring a plea for God to be with him before repeating a Bible verse he’s got memorized like the back of his hand. He continues to mutter it to himself, until he can breathe and the room stops spinning.

When he finally pulls his hands back from his face, Charlie stares listlessly at the ceiling. Wondering how he ended up like this, fearing that it’s always going to be this way.

That he’s never going to be able to properly breathe again.

* * *

**Song Cue ♫ ♪ “Exhale” as performed by Sabrina Carpenter || Performed by Charlie Gardner**

Whereas the other performances of the episode have been surprisingly grand and a bit of a spectacle, the power of this request for a reprieve is in its simplicity. There’s no fanfare, no blurred lines between what’s real and what is not, just Charlie and his soft tenor and his sheer, utter _exhaustion_.

The entire first verse and chorus stay solely on Charlie, slowly easing out of a close up until we’re further and further away from him, making him feel smaller than he is. The second verse takes us back into the darkened auditorium, Charlie walking behind the back curtain along the wall where all of the Class 2 x 4s are.

Every year, the freshman class adds their plank of wood to the wall, signing with their initials. It’s an AAA tradition, and it’s what Charlie focuses on as he wanders aimlessly. On _“try to keep a sense of knowing who I am,”_ he lightly brushes his fingers over his own initials from two and a half years ago. His expression twists as he sings _“I try to be an angel but I don’t think I can,” _holding back tears as he slouches back against the wall to finish the verse.

He rounds out the number back in the costume loft, managing to push himself into a sitting position and propping his elbows on his knees. He forces himself to breathe as he finishes out the song, then puts his head against his knees and shuts out everything else.

Breathing, for just one second, as if that’ll be enough.

* * *

**INT. AAA - HALLWAY - DAY**

Lucas is at his locker, a storm brewing behind his eyes. Riley spots him from down the hall and jogs over to join him, seemingly happy to see him. She starts talking to him eagerly, lamenting how crazy the week has been and how relieved she is that it’s almost over.

Searching for a safe place to vent, she almost starts talking about her parents given how that has been weighing on her all week as well, but unfortunately Lucas is far from stable ground right now. He interrupts her, voice dull.

> **Lucas: **Why are you talking to me?
> 
> **Riley:** … because I -- I thought we talked about this. I thought when we talked during group week --
> 
> **Lucas:** Well you thought wrong. You’re wasting your time, and I’m wasting everybody else’s, so don’t bother.
> 
> **Riley:** … what are you talking about? Lucas --
> 
> **Lucas: **Riley, I...

He locks eyes with her, the sentiment hanging unfinished between them. She holds his gaze, wide-eyed, waiting for him to speak.

One step forward, two steps back. Whatever he might’ve said, he chooses not to, too embroiled in the chorus of negativity echoing in his own head. Riley could do much better than him, he knows, so it’s about time she realized it too.

> **Lucas, half-heartedly: **Just leave me alone.

He shuts his locker, marching away from her. Riley stares after him, completely dumbstruck.

**INT. AAA - AUDITORIUM - DAY**

Zay is in the auditorium, looking for Charlie. He happens to run into someone else on the hunt, Angela entering through the wings and greeting him. She questions whether or not he’s seen Farkle, as she has been trying to catch him all week and seems to be constantly missing him. Zay claims he hasn’t.

Whereas it seems like he wants there to be more to say, Angela thanks him and starts heading out. There’s a moment where it seems like Zay might just swallow the dismissal, like he always does, but this time something in him snaps.

> **Zay: **Don’t you have anything you’d like to say to me?

Angela whips around, a bit surprised. She pleasantly asks if there’s something he wants to talk about, which seems to frustrate him more. At first he brushes off the question, but then doubles back and states that there is. That there’s a toxic, broken culture here at AAA, and in some ways it's her fault.

This kind of declaration is unusual coming from Zay, and Angela is understandably taken aback. She tries to defend herself but he doesn’t let her interject, growing more worked up the more he gets to speak. He laments the fact that this school is so built on favorites, and Angela has been feeding that culture since day one. She’s still doing it, making a point of enthusiastically greeting Maya and making special time to catch up with Farkle while saying fuck all to the rest of them.

> **Zay:** Don’t you think that I might want to catch up with the teacher who was _supposed_ to have been fostering my talent for two years? Don’t you think Yindra, or Nigel, or Haley or literally anybody else other than the Diva Twins might want a scrap of your attention?
> 
> **Angela: **Zay, I fully believe that all of you --
> 
> **Zay:** It’s easy to say you believe in someone, Miss Moore. Showing up for them is a different story._ [ a beat ] _And you chose who you’re backing from the first time we set foot on this stage.

He says his piece, storming past her. Angela absorbs the blow, knowing that the emotion is somewhat misdirected but still feeling the sting. She stands alone on the stage, overcome with nostalgia and wondering if the impact she left behind was all that good after all.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley is at a limit of her own, breaking down in the chair across from Eric. This meeting has nothing to do with the future -- this is all about right now, and it’s clear that Riley is losing her ability to cope. Still, there’s nothing she hates more than crying in front of others, so she’s a sniffling, embarrassed mess as she laments the state of affairs. The tissue she’s gripping in her fist is less tissue and more so just shreds after so much crumpling and twisting.

She admits that she’s been using other people as her distraction, but the fact is she can’t keep running from it. Her life is in shambles, and now her family is legitimately falling apart. She’s been trying to keep things together, but whenever she gets one thing straightened out another just crashes out of nowhere and she can’t keep up with it. She can’t do it anymore.

Eric frowns, getting up from his desk. He pulls over the other chair against the wall, sitting next to her instead of separated behind administrator lines.

> **Eric:** I’m swapping hats for a second here. Counselor out, uncle in. I’m very versatile, I don’t know if you knew.

Riley can’t help but laugh, although it’s weak. Eric goes on to say that he genuinely can imagine how she’s feeling. This week in particular has been a challenge unlike anything he’s felt in a long time, and there are days where he wishes he didn’t have to come in and face it.

> **Eric:** But, and I know this isn’t what you want to hear, the only thing I can say is to keep doing your best. Keep being compassionate, even when it’s hard.
> 
> **Riley:** How? I mean, how do you do that?
> 
> **Eric, with a shrug:** It’s the only thing I know how to do. I can’t imagine moving forward without it.

An honest confession, and something that seems to resonate with Riley. And if Eric is still going after all these years, then she supposes she’ll be able to as well. Somehow.

She dabs at her eyes, offering him a smile when he reaches out and pats her shoulder. A sorely needed moment of unity amidst all of the destruction.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Asher and Dylan have followed Lucas into the tech booth, the latter still in a foul mood. Dylan is doing his usual approach of trying to lighten the mood and echoing Lucas’s derisive commentary about how stupid all of this is, but Asher is hanging back. He’s hesitant as Lucas collapses into the rolling chair, once again bluntly claiming that his future is shit anyway, so why should he even bother?

> **Asher, after a moment: **Well, don’t you think that’s a bit self-defeatist?
> 
> _[ The booth goes quiet. Lucas glances at him, obviously surprised he’s arguing the counterpoint. ]_
> 
> **Lucas: **Huh?
> 
> _[ More quiet. Asher glances at Dylan, who is staring at him, wondering what he’s going to do next. ]_
> 
> **Asher: **I’m just saying. By deciding prematurely that you have no future, you’re sort of inherently guaranteeing that you won’t have one. Self-fulfilling prophecy, we learned about that in English.
> 
> **Lucas: **You think I pay attention to anything Matthews has to say?
> 
> **Asher:**_ [ with waning patience ] _My point is that if you don’t take the time to really think about what you can do, then you’re right, you won’t do anything. And I think that would be a pretty big shame.
> 
> **Lucas, with a snort: **Please, tell me how you really feel.

There’s an odd tension in the air that’s never been there between the trio before. Or perhaps it has, growing more and more potent the longer they’ve elected to ignore it. The dismissive comment only exacerbates it, Asher frowning. He steps past Dylan and approaches the lighting board, standing face-to-face with Lucas.

> **Asher: **You want me to tell you how I really feel?
> 
> **Lucas: **If you think you can.
> 
> **Asher:** Fine. _[ dropping his bag on the table pointedly ]_ I think you’re being stupid.

Lucas scoffs, but Asher isn’t done. He elaborates, pointing out all of the ways that Lucas has been sabotaging himself this entire year when it feels as though things could improve even a fraction if he just cut it out. It’s an impressive catalogue of points, being delivered expertly from someone who has clearly been paying close attention and bottling it all up.

> **Asher: **You’re being stupid about this assignment, when if you just took it seriously you might realize you could actually do lots of things with the right resources. That’s what Eric and Jack are _there_ for.
> 
> **Lucas: **Yeah, well --
> 
> **Asher: **You’re being _stupid_ about Riley, who has been nothing but nice to you despite you treating her like garbage.
> 
> **Lucas, defensively: **Don’t talk about her --
> 
> **Dylan: **_[ with a nervous laugh ]_ Guys, come on --
> 
> **Asher: **And you’re being stupid about the way you treat everyone else, including people who just want what’s best for you. You keep pushing, and pushing, and it’s like you _want_ the rubber band to finally snap. _[ exasperated ]_ Look at that and tell me it’s not fucking stupid!
> 
> **Lucas: **Well, what do you expect? Who are you talking to?
> 
> **Asher: **That’s the worst part about it! That’s what’s so frustrating is that I _know_ you’re not stupid, Lucas. I know that, but it’s like you don’t. Either that or you just don’t care, and I don’t know which one is worse!

The can of worms has been opened, and it’s not going to be put away so easily. Dylan attempts to deescalate the discussion but it just keeps spiraling, Lucas and Asher’s voices rising the more they go back and forth. Asher complains that all they’re trying to do is support him because that’s why they’re friends, and all he’s doing is rebuffing them. Lucas finally rises from his seat, glaring at him with at least his height dominance back intact.

> **Lucas: **Oh, you wanna know why we’re _friends_? _[ flatly ]_ It’s because you wanna _fix_ me.
> 
> **Asher:** What the hell are you talking about?
> 
> **Dylan: **Guys --
> 
> **Lucas: **Come on, we both know it’s true. You’re the reasonable one, put together and perfect, and I’m the trainwreck. It’s great, too, because it’s like a double win. I get you to do all this _crazy_ and _ridiculous_ stuff, and for five seconds you feel cool. Then you get to go home to your perfect house and your perfect family and forget about it, until the next time you want to let loose. I make you feel _good_ about yourself.
> 
> **Dylan: **Hey, seriously --
> 
> **Asher: **Is that seriously what you think?
> 
> **Lucas:**_ [ mockingly ]_ It’s what I _know_! I am just like the most fascinating little mess for you to tidy up, to placate to that incessant, neurotic need you have to put everything in perfect order. Only now I’m not doing it right, I’m not running right anymore, and isn’t it so _annoying_ when your perfect little toy train won’t run off the tracks exactly the way you want it to.
> 
> **Asher, voice cracking: **I can’t believe --
> 
> **Lucas:** Well, I’m sorry, spaghetti! I’m sorry that you have to settle and deal with one thing in your life that isn’t absolutely fucking _perfect_!
> 
> **Dylan, harshly: **HEY!

Dylan has moved forward, nearly stepping between them and holding out a hand to keep Lucas back. It’s as if his presence snaps him out of it, Lucas staring at him and realizing just how intense the situation has become. Dylan is looking at him with wide eyes, his anger only lasting as long as it took to get them both to hold off and having faded to shock.

Asher’s expression is harder. He’s glaring at Lucas, eyes glassy, clenching his jaw. Lucas hesitates, clearly wanting to say something, but Asher moves before he can speak. He snatches his bag off the table, clutching it close as he marches to the steps and exits out of the booth without another word.

Dylan whips around and watches him leave, mouth hanging open slightly. Lucas stares after him, expression shifting to something like hurt, before he spins away from the door and crashes back into the chair. He stays facing away from Dylan, who is still standing frozen in the middle of the booth.

> **Lucas:** Well? Aren’t you going to go after him?

There’s a pause. Dylan blinks, returning to a state of impressive calm in spite of the chaos. He shifts back towards Lucas, eyeing him sadly.

> **Dylan: **Yes. But I want to make sure you’re okay, too.
> 
> **Lucas:** _[ snorting ] _Why?
> 
> **Dylan:** … because I know you don’t mean it. I don’t know what’s going on, but… I know you didn’t mean it.

Lucas can’t look at him. He chews the inside of his cheek, picking at a hangnail.

> **Dylan: **We’re friends, Lucas. We care about you. Asher wasn’t lying about that. _[ a beat ]_ And when you decide you want to do something about this, we’ll be there. When you need us... we’re going to be there for you. No matter what.

Lucas has picked at the hangnail badly enough to draw blood. Dylan doesn’t wait for a response, looking at him for a moment longer before descending down the steps and leaving him alone.

Lucas curses under his breath, hiding his head in his hands.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Maya’s phone lights up on the bed, Katy’s picture filling the screen. Maya enthusiastically moves away from her future moodboard and reaches to grab it, picking up and excitedly greeting her. They catch up on how Katy is settling in back home in Vermont, and Maya gives her the low down on how insane the week has been but how bright her future feels. She boldly assures her mom that she’s great when she asks, repeating how well the week went for her.

But that’s not what Katy is asking, really. She knows her daughter better than she knows herself, and she knows how good she is at deflecting. So when she questions once again is everything is _really_ fine…

The walls come down. Maya chews her lip and tries not to let the tears fall but they do anyway, the facade crumbling as she lets out a shaky “no.” Then it’s spilling out of her, all of the things that are far from going right. How it feels like her entire class is imploding, how she’s willing to do whatever it takes for the dream but being cut throat has become exhausting, how no matter how obsessively she outlines her future she’s gripped by the fear that it isn’t going to pan out. That she’s going to be a failure, just like her father and like 90% of the people who walk the halls of Adams.

Most predominantly, more than any of that, she misses Farkle Minkus.

> **Maya, tearfully:** I know I said I was done with him, I told him we were… but I don’t know. I don’t know what I want. He hurt me, and what I’ve always thought is that when someone hurts you, you get rid of them. That’s what we did with dad, basically. _[ a beat ] _But then… I don’t know.
> 
> **Katy:** Baby girl, few people in your life are going to hurt you like your dad did.
> 
> _[ Maya scrunches her face, wiping at the tears on her cheeks. ]_
> 
> **Katy:** I wish I had the right answer, but things like this are never going to be obvious. There will always be pros and cons to every decision. But from what you’re saying to me… it sounds like you don’t want to say goodbye quite yet.

Maya lets out another whimper, pressing her palm to her eyes. When she resurfaces, she lets out a sigh and shakes her head.

> **Maya, weakly:** I wish you were here.

Honestly, don’t we all. Katy returns the sentiment, Maya settling back into the corner of her bed and staying on the phone with her mom for a while longer.

**INT. AAA - CLASSROOM - DAY**

Riley and Charlie are working in the English classroom, the only two still around after school on Friday. Riley has lost her investigative fire after her conversation with Eric, treating the project as exactly what it is and nothing more.

For what it’s worth, this seems to loosen up some of the awkwardness between them. For once, they’re not both trying to pick apart one another’s every move. They actually work quite well together, diligently getting the work done and even exchanging some tired but entertaining banter while they go.

Once they declare they’re pretty close to finishing, Charlie claims he needs to go run and grab his dance duffle from the practice room where he left it. When he gets back, they should be able to wrap this thing up. Riley nods agreeably, focusing back on the final touches while he jogs out of the room.

The quiet is disrupted by Charlie’s phone, vibrating on the table top. Riley glances at it, but then forces herself to ignore it. She’s done snooping after all… only the contact name that lights up the screen catches her interest.

After a moment of indecision, Riley glances at the door before gently sliding the phone closer to her so she can read the lock screen. Over the saved background of Charlie with his younger sisters, a couple of messages from Zay sit unread on the screen.

_ “Hey couldn’t find you after school, you still here? you seemed a little out of it yesterday. hope everything is okay” _

_ “Craziest thing happened with miss moore, i’ll tell you all about it. in the usual studio” _

The last text message comes through as Riley is taking the phone into her hands, shock taking over her features as she reads it.

_“Love you”_

Riley is staring at the phone, speechless.

> **Charlie: **What the hell are you doing?

She shoots her head up to find Charlie standing in the doorway with his duffle. He’s staring at her, mortified, and she’s mirroring his panicked expression to a tee.

Busted.

**INT. AAA - HALLWAY - DAY**

Zay glances up from his phone just in time to avoid ramming right into Harper. Both of them apologize, laughing off one another’s pleasantries. She asks if he has a second to talk, gesturing him into the black box.

**INT. AAA - BLACK BOX THEATER - DAY**

Harper is calm as she explains that Angela told her about their confrontation on the stage. Zay jumps into defensive mode, claiming that he doesn’t regret what he said.

> **Harper: **I understand, Zay. I agree with you.
> 
> **Zay:** Well, I -- oh. Oh, good. _[ a beat ]_ Really?

Harper cracks a smile, sauntering back over to join him at the desks. She settles into sitting on top of one, admitting that she knows exactly what Zay is talking about and she thinks Angela knows it too. When she told her about what happened, she did not seem like she was denying her fault in the situation.

Realizing that this environment might be safer than he thought, Zay hesitates before really getting into what’s been needling him all week --and really, all year.

> **Zay:** I just don’t get what else I’m supposed to do. It’s like, I’m doing everything I’m supposed to. I’m trying and I’m trying and giving everything I’ve got. And all I know is that when I went out there in the real world, when we put our stuff to the test, I came out on top. Kossal looked at all of us and _chose_ me, I was identified as the top player.
> 
> **Harper:** Rightfully so, I’m sure.
> 
> **Zay:** I was the one worth acknowledging, worth accolading, worth… stepping up to be proud of. So how can that be true, but in every other way it’s the opposite? I’m still just shoved into the background?

Harper empathizes. She states she knows exactly what he’s talking about -- favoritism, especially in their industry, is as old as time itself. Not to mention the layers being a person of color adds to that struggle.

> **Harper: **I recognize it, believe me. You work three times harder than everyone else, and no one respects it. You have to be ambitious and driven like the others, yet also be kind and well-liked and not ruffle any feathers.
> 
> **Zay: **Courtesy is the deadest art form at AAA, yes.
> 
> **Harper:** The unfortunate truth is, teachers aren’t perfect. _[ off his eye roll, smirking ] _Shocking, I know. But we make mistakes just as easily as students do, and unintentional favoritism is likely the most common offense. That has nothing to do with you, though, as you’ve clearly figured out.

She goes on to explain that the other unfortunate truth to an industry like theirs is that sometimes, even your very best is never enough. There are always factors you can’t control, people more talented or better connected than you, and a million reasons to write you off versus the handful of people will choose to acknowledge to uplift you. It’s not an easy world, as she’s sure he’s well aware.

> **Harper:** I don’t know if this will make you feel better or worse, but the truth is it all comes down to endurance. How long you can take it, how long you can stick it out until it ends up being your shot. The true test of who lives the dream is who hangs on… and who gives up.

Not all that inspiring, but honest. Zay evidently appreciates it as he nods, thanking her for taking the time to listen. Despite how rough the transition has been, he does think she’s a good teacher. The comment seems to resonate with Harper, who gives him a grateful smile.

**INT. AAA - CLASSROOM - DAY**

Charlie breaks the ice first, dropping his duffle bag as he darts into the room. He snaps at Riley for looking through his things, snatching the phone out of her hands in a frenzy. She flinches, trying to regain her bearings on the situation. She stammers out an apology, Charlie turning away from her and reading the texts that she saw for herself.

Silence settles over the room again. Charlie stays turned away from her, no longer breathing. Riley slowly rises to her feet, not sure what to say next.

> **Riley:** That… um. _[ tentatively ]_ Are… are you -- ?
> 
> **Charlie: **You can’t tell anyone.

Charlie whips around, locking eyes with her. His eyes are wide and he’s shaking again, already on the verge of another panic attack. Only this one is bound to be worse, because the looming fear that he’s going to be found out is now a very real threat.

> **Charlie:** Riley, you can’t. You can’t tell anyone.
> 
> **Riley:** I wasn’t going to --
> 
> **Charlie, hyperventilating:** You can’t. Riley, you can’t. You can’t tell anyone, okay, you can’t -- !
> 
> **Riley:** Charlie. _Charlie_!

Riley reaches out and takes his arms, getting him to stop cold. She holds his terrified gaze, aware of how he’s literally shaking in her hands.

> **Riley, sincerely:** I would _never_ tell anyone.

There’s an excruciatingly tense moment between them, Charlie having to determine whether or not he believes her. Neither of them move, neither of them breathe. You could hear a pin drop.

Then he lets out an exhausted exhale, nodding and muttering an affirmation. He slips from her grasp, stepping around her and collapsing back into his seat at the desk. Riley stays where she is for a moment, attempting to process what the hell she just learned.

Once she catches up, she spins back to look at him with his face hidden in his hands. She lightly claims she knows what he’s going through -- well, not exactly, but being pansexual definitely gives her a sense of what he might be experiencing. She knows she was lucky to not have many factors keeping her from sharing that side of herself, and she’s sorry that he feels like he does.

> **Riley:** I can’t imagine what that must be like, trying to hide such a big part of yourself. What you might feel like you have to do, like holding things back and… _[ realizing ]_ controlling the narrative.

The Confessions posts. Suddenly, it feels glaringly obvious.

> **Charlie, under his breath: **Fucked. It’s all fucked

Riley frowns sympathetically, cautiously sliding back into her seat next to him. She looks at him, searching for something to say that might be easier to discuss.

> **Riley:** So… Zay?

Charlie takes a deep breath, still hiding in his hands. But after a moment, he nods. Riley smiles.

> **Riley: **That’s great. Honestly, that’s amazing. It’s about time someone appreciated Zay for how wonderful he is. I guess I noticed he had been happier, actually, I just wasn’t sure…_ [ a beat ] _How long?

Charlie lifts his head, inhaling slowly. When he speaks, although he’s backed off the ledge, his voice is shaky.

> **Charlie: **Eight months._ [ softer ] _But feels like longer.

Riley’s eyes widen, stunned. That long and nobody knows… but on the other hand, it’s hard not to be endeared. It’s so obvious from how delicately he talks about it how much the relationship means to Charlie.

> **Charlie: **I know it’s so stupid. All the stress I’m putting myself through.
> 
> **Riley: **It’s not stupid.
> 
> **Charlie:** It is. Like, maybe it’s not, but it is. I’m just still trying to… I’m not sure how this is supposed to work. It’s like I’ve got this one version of reality, where like… everything is in black and white. There’s good and there’s bad and there’s black and there’s white, and it’s my job to stay clearly on one side. And I do, I do a good job of it, and that’s why the show goes on. It’s not ideal, but it’s manageable. It’s what I know, and you can settle for what you know when you don’t know any different.

Riley listens attentively. Charlie is clearly working through these thoughts for the first time, hesitating and grimacing and stammering over the words. The next statement, however, he says with breathless certainty.

> **Charlie: **Then, there’s Zay, and it’s like… we’re in technicolor. _[ a beat ]_ How are you supposed to go back to settling for black and white when you’ve seen the rainbow?

Riley smiles again. Her voice is soft when she tells him that it’s going to work out, and he’s going to figure it out. When he questions how she can be so certain about that, she admits that she isn’t, but it’s kind of her thing, being hopeful. As someone important reminded her, it’s really all they have.

* * *

**Song Cue ♫ ♪ “Rainbow” as performed by Kesha || Performed by Riley Matthews & Charlie Gardner**

Riley starts off the duet tentatively, transitioning pretty smoothly from their conversation (_“I used to live in the darkness / dressed in black act so heartless / but now I see that colors are everything”_). She carries through the first verse, smiling lightly and encouraging Charlie to relax and allow himself a smile as well. In this moment, they’re safe. It’s okay.

Charlie picks up the second verse. He brings a little more emotion to the arrangement, clearly needing the catharsis of finally getting to be open for the first time in what feels like his entire life. The two of them pass the harmonies back and forth, performing well as a duo when the situation isn’t forced in some unidentifiable way. Finally both on the same page.

As the last verse wraps up, Riley reaches forward and takes his hand. They keep their fingers joined together straight through to the end, the camaraderie obviously a relief to Charlie.

Focus hangs on the hand hold, a symbol of coming together when it feels as though everything is falling apart.

* * *

**INT. AAA - ERIC’S OFFICE - DAY**

Isadora swings by Eric’s office, poking her head in and a bit surprised to find him still around. When he greets her and asks what the expression on her face is for, she admits that she figured after the hell week they had, he’d be running off to escape for the weekend faster than anyone else. He certainly would’ve earned that right, at least.

Eric laughs, nodding in acquiescence. But he’s survived this week for years now at AAA, and he figures he’ll survive a handful more before retirement comes to free him. He turns the tables and gently asks Isadora how she’s feeling at the conclusion of this week -- he got the sense she wasn’t being entirely forthcoming during their structured meeting.

Isadora hesitates, then caves. She admits he’s correct, sauntering in and slowly settling into one of the chairs. He keeps the atmosphere casual, coming to lean against the front of his desk. She states that things aren’t going all that well at home, but she figures the social worker must’ve already passed that intel to him.

> **Eric: **And the future?
> 
> **Isadora:** … honestly… I don’t know. I don’t even have right now worked out. I’ve been thinking about it all week, hoping that a clear path would just emerge. But instead I just fell down a lot of sinkholes instead.
> 
> **Eric:** Any injuries to report?
> 
> **Isadora:** Maybe internally._ [ a beat ] _But they’ll heal.
> 
> **Eric: **And so…
> 
> **Isadora: **And so… right now, I don’t know. Nigel said it was better to have lots of options rather than one or none at all, so I guess he’s right. As for which one is the right one… no idea.
> 
> **Eric:** And you know? That’s totally okay.

Eric goes on to state that the point of the week, despite its reputation, isn’t to get them to make definitive irreversible decisions about their prospects. It’s just to get them thinking about it, to get those wheels turning so that when that time _does_ come around, hopefully they’ll already have a little bit of clarity.

> **Eric: **And considering you’re Isadora De La Cruz, I am positive you’ll work it out.

Isadora accepts the compliment shyly, offering a small smile. Then she asks him how he’s faring. He had to carry everyone’s baggage even more than usual, and that can’t be fun. He seems touched by the fact that she’s asking at all, and he admits that he’s got some things going on in his own life that aren’t helping matters.

> **Isadora: **Well, can I offer _you_ some advice?
> 
> **Eric, with a laugh:** Sure.
> 
> **Isadora: **Whatever you’re struggling with, maybe it would help to get to talk about it with someone who can help, too. I feel better after coming in here and talking to you, so maybe you’ll feel better if you go and give yourself the same opportunity. If it’s with someone who can actually address the things you’re grappling with, even better.

Not bad advice. Eric jokes that maybe Isadora has a career in counseling in her future, which earns a snort out of her. She gets up and thanks him one last time, heading towards the door.

> **Eric: **No… thank you.

Isadora nods, disappearing from the doorway. Eric takes a moment to breathe, glancing at the office around him. Having survived another week, for better or for worse.

**INT. AAA - SHAWN’S OFFICE - DAY**

Angela finds SHAWN HUNTER hidden away in his cramped office, the two of them exchanging jokes about how it’s typical for him to stay out of sight during check-in week. In his defense, he claims, his presence sometimes only adds stress. Angela can’t argue with that.

She comes to sit with him, settling casually onto his lap. She gently approaches the topic of what happened with Zay, and the conversation she had with Harper afterwards. She feels bad for having made their students feel that way, and she’s realizing that maybe the way the two of them approached working at AAA isn’t the _only_, or even the best, way to go about things.

Maybe, Angela concludes pointedly, it might be better to stop combatting the change and embrace it for what it’s worth. Harper might just surprise him. Shawn is reluctant simply due to embarrassment for his behavior, but Angela softens the blow by giving him a quick kiss.

Much to consider moving forward, that’s for sure.

**INT. AAA - DANCE STUDIO - DAY**

Zay is in the studio as he said he would be, working hard as usual. Not yet spooked away from his passion, Harper’s talk with him giving him more perspective than acting as a deterrent.

Charlie finally makes it there, and this time it's his turn to hang in the doorway and watch Zay dance. He crosses his arms and leans against the doorframe, expression softening and a light smile blooming onto his face. It’s the most content he’s looked all week.

When Zay spins out of a dance step he spots him, expressing relief. He asks where he’s been -- he feels like he hasn’t seen him all day. Charlie apologizes, sauntering into the room and asking what happened with Angela that he wanted to tell him about. Zay pauses, then shrugs.

> **Zay:** Nothing. It’s not important. Miss Burgess is pretty cool, though.
> 
> **Charlie: **Yeah?
> 
> **Zay: **Yeah. Nothing like Miss Moore, but maybe that’s not the worst thing in the world.

Charlie shrugs. Seeing as they’ve come up on Friday, Zay playfully questions if Charlie has figured out his grand plans for the future. He shakes his head, clasping his hands together in front of him as he comes to stand in front of his boyfriend.

> **Charlie:** I don’t think I can know what I’m going to be then until I like… know myself now. Or feel like I know myself more consistently than I do at the moment.

Gently, Charlie reaches for Zay’s hands. The latter hesitates, examining him curiously and well aware that they’re still in public school property despite how much this studio feels like their own safe haven. But Charlie seems comfortable with the gesture, dipping his head down to look at their joined hands.

Charlie also quietly informs him that Riley now knows, which is major news. Zay immediately asks how it went, how she reacted, but from Charlie’s calm demeanor he can only assume it didn’t go horribly. He confirms it, admitting that it wasn’t the end of the world. As for what that means for the future...

> **Charlie:** I just hope that… I don’t know. I hope that when I get there, I’ll be… happy. Content, at least.
> 
> **Zay, lightly teasing:** Big ask.
> 
> **Charlie: **I know. Feels like it, but… _[ locking eyes with him ]_ I know it’s possible. I know it when I feel it.

The subtext of the message goes without saying. Zay smiles, rubbing his thumbs over the back of his hands. Charlie takes it a step further, leaning forward and starting a soft kiss. It’s tentative, new for different reasons, like being in a place where potentially anybody could see. But it’s sweet and it lingers, Zay smiling when they pull apart.

Charlie presses his forehead against his, staying in the moment while he can. Holding onto the safety of this thing, this place right now, when the future remains wholly uncertain.

> **Eric, pre-lap: **Thanks for being here with me.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric finishes filling a mug from his coffee maker. The cup is steaming as he hands it to Jack, who takes it with a tentative but grateful smile. He admits he’s surprised Eric invited him to come do their usual tradition of ending this hell week with one another, considering how… off things have been between them.

Eric acknowledges that, admitting that he hasn’t been able to stop thinking about that. He starts to apologize but Jack beats him to it, murmuring about how he knows he shouldn’t have kept things from him. He does trust him, and he values him more than anything. There’s no one better at what he does -- this week alone is evident enough of that -- and he’s grateful that he’s there keeping the ship running with him. He regrets what he said to him, and hopes he’ll believe him when he says he’s sorry. He let his emotions get the best of him is all.

> **Eric, after a moment: **Well, I’m not one to say that a little emotion is ever a bad thing.

And like that, the tension is gone. Jack smiles, taking a long sip of his coffee.

* * *

**Song Cue ♫ ♪ “Lullaby” as performed by Sleeping At Last || Performed by AAA Juniors**

The a capella humming of the junior class floats over the scene, underscoring the rest of the episode. It’s delicate, pretty, but the slightest bit haunting. Heavy with the context of the week.

Jack asks Eric how he thought the week went overall, in spite of the trainwreck he was there to witness himself. Eric shrugs, admitting that it’s always hard to tell. Talking about the future is never easy, and the additional uncertainty of this career path that they all think they might want doesn’t soften it.

> **Eric:** I just hope that… I hope they realize this isn’t the end of the world. The future is so malleable, and it will take them in directions they don’t even know are options right now. I mean, look at me. I was just like them at this age. I thought I was going to be a star.
> 
> **Jack, jokingly: **_[ behind his mug ]_ Still have the theatrics to prove it.

Eric gives him a look, but it melts into a smile after Jack shrugs pithily.

> **Eric: **Did I ever think this was where I would end up? No. But life has a way of getting you where you’re supposed to be._ [ looking at Jack ]_ And I wouldn’t want to be anywhere else.

Jack claims he’ll toast to that. The two of them clink their mugs together, taking a sip and settling into the quiet.

**INT. MATTHEWS APARTMENT - AUGGIE’S BEDROOM - NIGHT**

Cory is tucking Auggie into bed, taking his time with it considering how the times he’ll get to do so are numbered. He gives him a kiss on the forehead, smiling when Auggie says something silly to him in response.

Riley leans against the doorframe, watching with a bittersweet smile on her face. Not wanting this to change…

**INT. FOSTER HOME - NIGHT**

Isadora grows tired with helping Jericho with his homework, excusing herself and skirting around her other siblings to escape to her room. Stephen and Karen watch her from the kitchen, exchanging knowing looks.

**INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT**

Asher is seated on his bed, doing his practice of journaling down all the good things that happened, then writing down the bad and crumpling it up so he can metaphorically throw it away. But he’s already got a couple of paper balls littering the floor at his feet, and he’s tear-stained as he rips another page out and crumples it.

He gives up on all of it, letting the journal and the crumpled page fall off his lap and onto the floor. Dylan emerges from the window, slipping inside the room and coming to join him.

They don’t say anything. Dylan simply climbs onto the bed and wraps his arms around him from behind, Asher closing his eyes. Dylan kisses his cheek, then his shoulder, tucking his head against it.

**INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - NIGHT**

Alternatively, Lucas’s bedroom is cold and empty. His window is still open to the fire escape, letting in frigid February air.

**EXT. LUCAS’S APARTMENT - NIGHT**

He’s not on the fire escape either. Drifting upwards, we pass a few more floors until we find him, huddled up on the roof of the building by himself. He’s shivering, but he doesn’t move. He’s looking at the city, sprawled and twinkling in front of him, but his expression is blank.

_I’m a loser, baby, so why don’t you…_

**INT. SUBWAY STOP - NIGHT**

The train doors open, Zay and Charlie emerging onto the platform. It’s still bustling for a Friday night, the two of them just another part of the crowd. Charlie takes his hand, the two of them exchanging a meaningful look before Zay begins to lead the way through the masses.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Maya is tweaking her future moodboard, rearranging some items and changing it up. She’s making it a little more personal rather than so cold and calculated, aiming for the future she wants to lead rather than the one she feels like she has to in order to survive the industry.

She picks up one of the photos on her bed, hesitating on it. It’s a polaroid of her and Farkle, goofing around in the auditorium during spring semester. She brushes her thumb over Farkle, obviously contemplative.

Then she looks back at the moodboard. Perhaps it will find a place in her future after all…

**INT. MINKUS HOME - HALLWAY - NIGHT**

STUART MINKUS approaches Farkle’s door, lightly knocking and asking if he can come inside and chat. Jennifer informed him that he passed on dinner, and hasn’t emerged from his room since, so he wanted to come see what’s going on. His mom said he seemed like he was feeling better this week? Is that the case?

Farkle doesn’t answer, so Stuart sighs and settles for hanging outside. He speaks through the door instead, struggling to find exactly what he wants to say but doing his best to get it out.

> **Stuart:** Listen, I… I’ve been thinking a lot about that discussion we had during the holidays. The things we said to each other… I think you had some points. Smart as you are, of course you did, but… when I said what I did, I was only trying to look out for you. I know it doesn’t seem like it, considering I’m not always… you’re right. I could afford to be around more, and I guess I just needed you to confront me with the truth of that to recognize it as such. _[ a beat ] _I’m sorry I made you feel like I don’t notice or care, Farkle. I do. I do, and you make me proud every day. Even if I don’t quite understand it, I know you’re making strides in what’s important to you. And I want to be there for more of that. Genuinely.

A really nice sentiment, one long overdue. Still, Farkle doesn’t give him anything in return. Stuart sighs in frustration, knowing they can’t make any progress if he won’t even hear him out.

> **Stuart: **Farkle, come on. Can we just chat about this --

**INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT**

Stuart gently pushes open the door, searching the dimly lit room for Farkle so they can talk face to face. But he’s not at his desk or on his bed, and it takes a full scan of the room for his gaze to drift to the floor.

First confusion passes over his features, then a moment later, panic. Sheer, absolute panic.

> **Stuart, choked:** Farkle? _[ bursting into the room ] _FARKLE!

Stuart drops down to the ground, kneeling just in front of the camera. He immediately descends into hysterics.

> **Stuart:** Farkle, come on. _No_ \-- Jennifer! JENNIFER, CALL AN AMBULANCE!

The last notes of “Lullaby” take us out as the screen goes to black.

> **Stuart, broken:** Farkle!

** _END OF EPISODE._ **

* * *

**IF ANY** of the content in this episode has been triggering, please reach out and talk to somebody you trust and who can help you. The following links are resources including hotlines, prevention organizations, and international numbers.

**Suicide Prevention:** <https://suicidepreventionlifeline.org/>

**List of Suicide Hotlines:**   
<https://ibpf.org/resource/list-international-suicide-hotlines>   
<https://suicidestop.com/call_a_hotline.html>


	12. Got A Lotta Livin' To Do [ 2.08 ]

**Summary for the Chapter:**

> YOUTH IS WASTED ON THE YOUNG – Devastating news sends the junior class reeling. When decisions are made for all the wrong reasons, everybody must face the consequences. Eric is haunted by signs he may have missed.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )
> 
> **CHAPTER CONTENT WARNING:** mentions of suicide; underage drinking; mild physical harassment. Take care of yourselves and read with discretion.

**INT. AAA - HALLWAY - DAY**

**Song Cue ♫ ♪ “Lovely” as performed by Billie Eilish & Khalid || Performed by Isadora De La Cruz, Riley Matthews, Maya Hart, Charlie Gardner, Zay Babineaux, and Lucas James Friar**

The soft piano eases us into the episode, a long shot of the hallways of AAA less lively than usual. Whereas there is often dancing, laughter, and commotion in the opening hours of the school day, today it’s still.

ISADORA DE LA CRUZ is the first person to appear, standing alone in front of the display case outside the auditorium. There are photographs from _Into the Woods_ up, and that’s what is holding her focus as she delivers the opening verse. As she turns and begins to walk down the hall, CHARLIE GARDNER appears within frame and joins in the vocals, growing more and more distant the further Isadora walks from him.

The whole number progresses with this disjointed sort of feeling -- the students being together, but feeling distinctly apart. The vocal focus shifts from the two of them to MAYA HART then to RILEY MATTHEWS and ZAY BABINEAUX, their voices melting seamlessly into one another due to the heaviness of the delivery.

The moment it all comes together is about halfway through in the second verse, when all of them come together along with LUCAS FRIAR. Zay behind Isadora, Charlie behind Maya, Lucas behind Riley. The six of them look straight at the camera with blank expressions as they march down the hall, seemingly in sync for this one captured moment of grief.

_Oh I hope some day I’ll make it out of here..._

It’s a long, continuous shot, staying with Maya as she abruptly halts and the other five disperse around her. She’s standing in front of Farkle’s locker. Frozen, transfixed by it. She lifts her hand to touch it and then decides against it, pulling her hand back. She swivels away from it, the riffs of her classmates echoing as she drifts her way back towards the auditorium.

**INT. AAA - DRESSING ROOM HALL - DAY**

We’re following Maya as she walks, making her way through the hall...

**INT. AAA - AUDITORIUM - DAY**

And out into the wings, stage lights down and house lights up as she passes through the stage and towards the stairs to the front and center section of seats. The rest of the junior A class is there amongst them, but they’re blurry and out of focus.

* * *

Maya settles into one of the chairs, camera rotating around to see the stage. JACK HUNTER, ERIC MATTHEWS, HARPER BURGESS, and SHAWN HUNTER are assembled, expression and demeanors somber as they address the A class. As the song comes to an end and their voices become audible, Jack’s words of understanding still feel far away.

> **Jack:** … understand how overwhelming this might be. Which is why we are going to process it together. If there is anything you need…

The focus is back on Maya, having spun our way around to the front. Easing in on her empty expression…

** _Cue title sequence._ **

**INT. AAA - AUDITORIUM - DAY**

Jack and Eric continue on with their opening remarks, explaining the resources that they have available in light of what has happened with Farkle Minkus. Harper and Shawn nod along, equally as solemn. Harper seems particularly fragile, hands clasped so tightly in front of her she’s turning her knuckles white.

Additionally, as Eric explains, he’ll be available at any hour the next week if any of them need to come talk through what they are feeling about the situation. He emphasizes that the worst thing any of them can do at this time is isolate themselves, and every one of them up on stage -- and any other faculty -- are there for them.

**INT. AAA - HALLWAY - DAY**

The halls continue to feel muted even though the day marches on. At one end of the hall, NIGEL CHEY talks softly with YINDRA AMINO and JADE BEAMON. He reaches out a hand to touch Jade’s elbow, extending comfort.

A little further down, ASHER GARCIA and DYLAN ORLANDO are having a difficult conversation. Asher isn’t looking at him as he swaps items from his bag to his locker, meticulously nitpicking at the books on the shelves as a distraction. Dylan is leaning against the row with his arms crossed, delicately broaching the conversation.

> **Dylan: **You heard what Mister E said. The worst thing we can do right now is isolate, and that’s all he’s been doing for months.
> 
> **Asher:** I know.
> 
> **Dylan:** That has to be the reason he said any of that stuff, anyway. It’s like you said, it’s like he _wants_ to push people away. I’m not saying it’s right, or anything, and you _know_ I’m on your side. I’m just thinking that --
> 
> **Asher: **Okay, but even if he didn’t mean it, he still said it. And you know I’m not just -- I know what you mean. I do. _[ fussing with his backpack ] _But at what point do we say okay, this is all I can take? I’ve been pushing the line further and further back because of exactly that, because I don’t want him to be alone, because he’s my friend, but where do we draw the line? When does it finally become too much --

Asher nearly drops his backpack and gasps, catching it and cursing under his breath. He takes a moment and closes his eyes, breathing deeply. Dylan frowns, reaching out and rubbing his shoulder.

When he’s pulled it together, Asher turns to face him. His tone is soft, touching Dylan’s arm.

> **Asher: **You know I’m not going to tell you what to do. You can make your own decisions. I just…
> 
> _[ Dylan listens attentively. He shifts his hand to touch Asher’s cheek, a subtly encouraging gesture that signals it’s safe to say whatever he needs to say. ]_
> 
> **Asher: **Right now, I can’t. I just... need space.

A reasonable request, considering how much he’s already done for Lucas. Dylan nods. Asher gives him a tight smile, sharing a quick kiss before he closes his locker and shuffles down the hall for his next class.

Dylan watches him go, releasing a sigh and leaning back against the lockers.

> **Jack, pre-lap:** It is imperative that we act with caution.

**INT. AAA - JACK’S OFFICE - DAY**

Our junior faculty is assembled, CORY MATTHEWS joining Harper and Shawn in meeting with Eric and Jack. The principal is seated at his desk, leading the more candid discussion of how they should approach a guaranteed difficult week. Cory says what they’re all thinking.

> **Cory: **I just can’t believe it.

The main takeaway from the meeting seems to be that whether they like it or not, the group of them are role models in this situation. How they handle this will help inform the students on how to handle it, so it’s up to them to be in control of their emotions and act as pillars for the A class to lean on. Harper questions if this means they’re just pretending it didn’t happen, obviously the one struggling the most with keeping her emotions in check.

Eric refutes this take, pointing out that their primary role is still to be a teacher. He warns against initiating conversations about it, as some students may not want to talk about it or address it yet. Those who want to seek conversation will come to them, and if anyone seems in _need_ of counseling then Harper is encouraged to send them his way.

> **Harper: **And what about you? Are you sure you can handle taking on all that extra… have you even gotten to take a moment for yourself?
> 
> **Eric:** When we’re here, our responsibility is for the students. I can handle myself on my own time.

Shawn is the one to point out the other obvious threat -- overreactions. He doesn’t suspect they’ll have any copycats or anything, but then, they didn’t realize it soon enough with Farkle either. The fact of the matter is, there is a lot boiling under the surface of these kids right now because of this, and they’re guaranteed to release that pent up energy eventually. They should be even more vigilant than usual.

Jack seconds the notion. Speaking from experience, some teenagers are very good at concealing what they’re feeling...

**INT. AAA - GIRLS DRESSING ROOM - DAY**

One such student is Isadora, who is having lunch with Maya. They’re hidden away in the girls dressing room, away from the noise and constant chatter of the cafeteria.

For all intents and purposes, she seems to be handling the news better than others. She’s at least being open and talkative about her attempts to process it, gently nudging Maya into conversation about it.

> **Isadora:** Something similar happened at my last foster home... I won’t go into details, but… it’s like... they kept telling us the same thing over and over again. About feelings, and guilt and all that sort of shit, but none of it really helped. I don’t know what…_ [ a beat ]_ This isn’t very helpful either, is it?

Maya isn’t taking to it, that’s for sure. She’s silent, lunch untouched on the countertop next to her. She’s got her feet up on the counter and is hugging her knees, leaning her head against the cool mirror. Not talking, not eating, just… nothing.

Isadora gets the hint, settling into quiet as well. But she assures her that if she does want to talk, she’s there for her.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley has gone to Eric for lunch, bright with an idea in the chair across from him. It’s a muted sort of enthusiasm, but her eyes are sparkling as she speaks.

> **Riley:** I wanted to run it by you first, though, because I didn’t want to accidentally do something that might make things worse or have some unintentional psychological consequence. I just thought that… it might be nice. For all of us, but also for him. To honor him. _[ a beat ]_ Do you think it would be okay?
> 
> **Eric:** I don’t see any obvious “psychological consequences” in that idea, no. _[ smiling ]_ I think that’s a lovely idea, Riley.

Riley manages a smile. She quickly finishes her food and gathers her things, claiming she wants to get started on organizing it. Eric rises with her, requesting she hold on a second.

He comes around the desk, gently asking if she’s handling everything okay. In light of everything that has happened… he just wants to know. And if there’s anything he can do, can she promise that she will please, please tell him before it gets too deep to come back from.

Riley pauses. Then she pulls her uncle into a hug, the two of them sharing a tight embrace. Every touch means a little bit more right now.

> **Riley:** Promise.

She pulls back first, giving him a smile and heading out. Eric watches her go, a little choked up. He clears his throat, trying to shift back into work mode.

**INT. AAA - DANCE STUDIO - DAY**

Zay and Charlie are in their usual studio, but they aren’t dancing. The mood is deflated, the two of them sprawled on the floor in what seems to be the start of stretches that never went anywhere. Instead they’re talking, Zay laying on his side and propped up on his elbow. Charlie is leaning back against the mirrors, legs stretched out and feet resting on Zay’s hip.

And even their conversation isn’t its usual rapport. It’s soft and listless, both of them trying to process something that feels impossible to grasp. Zay carries most of it to fill the silence, working through his disbelief and attempting to reconcile that with the collective perspective they all had of Farkle.

> **Zay:** I don’t know. I guess someone that… when they have that sort of personality, you never really think --
> 
> **Charlie: **Could’ve been me.

Charlie says it without thinking, staring at the ballet bars across from them. He only snaps out of his daze when Zay nudges his knee, concern in his features. He repeats the question of what the hell Charlie meant, obviously worried about the statement. Charlie quickly covers it, claiming he just meant that it really could’ve been any of them. Personality and background aside.

Zay doesn’t seem all that placated, so Charlie elaborates. He explains how alone he felt at the end of last year, how easy it is to stumble into those dark places and not really know how to dig yourself out. He’s lucky that he had a support system in place, as well as someone there for him in a way that no one else could be.

He tilts his head to lock eyes with Zay, sincerity shining through his tired gaze.

> **Charlie:** I hope you know how much you mean to me.

The sentiment kind of speaks for itself. Zay softens, placing his hand on Charlie’s leg and gently stroking his knee.

> **Zay:** Ditto.

Charlie waits a moment before placing his hand on top of his. Off their joined hands --

**INT. MATTHEWS APARTMENT - NIGHT**

Riley and Cory are having dinner together, just the two of them as it may very well be from now on. The two of them skirt around the elephant in the room for a bit until Riley mentions her idea to honor Farkle, stating that that’s what has taken up a majority of her attention.

Tentatively, Riley asks Cory how he’s feeling about the whole thing. Although they don’t give him much credit, he was one of his teachers. He must be thinking about it. So she opens the floor for him to actually get to talk about it instead of putting on a brave face like he does at school. Cory contemplates it.

> **Cory: **Weirdly enough, I keep thinking about first semester.
> 
> **Riley: **Yeah?
> 
> **Cory: **Yeah. Doesn’t have anything to do with the last couple of years, but that’s what I keep coming back to. First week of school isn’t easy for a teacher. Not just because we’re also coming off the freedom of summer, but because there’s a whole new crop of kids to learn about. Not to mention all the others you’re backlogging from other years, but that’s beside the point. At least at Triple A we’re only dealing with about fifty a year, but still a lot to take in.
> 
> **Riley:** I can imagine.
> 
> **Cory:** But Farkle wasn’t like that. It was partially the name -- hard to forget a name like that, so I figured I would match the face pretty easily. But the real reason was because even from the first week, he was always two steps ahead of me. Didn’t matter if it was history or english -- and I do not envy Mr. Norton for having to battle with him in science and math. First week of classes, I’m doing an introduction on Shakespeare, and his hand just shoots up about ten minutes in and he basically takes over the lecture. _[ clearing his throat ] _I was irritated at the time, a little bit, because it kind of felt like he was stealing my thunder. But came to appreciate it after a while. It was nice to have a student who valued his academic intelligence just as much as his performing ability._ [ weakly ]_ Think maybe I should’ve told him that, at some point.

Riley smiles bittersweetly, reaching across the table to touch his hand. Cory lets out an embarrassed laugh, swiping at his eyes. He holds her hand more securely, locking eyes with her.

> **Cory:** I’m so glad that -- I’m so glad you’re still here with me, Riley. I really, really am.

The statement is loaded, and carries plenty of meaning. Glad she’s there with him and not on the same path as Farkle; glad she’s there with him when everyone else seems to have gone away -- his wife, his son. He’s grateful that, in spite of everything else, she’s still there at his side.

Riley squeezes his hand in return, nonverbally returning the sentiment.

**INT. FOSTER HOME - KITCHEN - NIGHT**

Isadora is helping BEATRIX TORRES prepare lunches for the younger siblings. Beatrix asks her how she’s grappling with what happened to that classmate of hers, and she brushes it off as if she’s not all that bothered. Sad, of course, but it is what it is. Beatrix doesn’t seem convinced, but before she can question further, STEPHEN VAN HERSCHING requests that Isadora come join them in the dining room.

**INT. FOSTER HOME - DINING ROOM - NIGHT**

Isadora saunters into the seat across from him and KAREN VAN HERSCHING at the end of the dining table, expecting this to be another meeting to discuss her “behavior” as of late. They hadn’t yet confronted her about the outburst of last week, so she’s resigned as they tentatively begin the conversation.

Only it takes a turn she is not at all anticipating.

> **Karen: **With all of this in mind, we feel it might be time for you to be relocated.
> 
> **Isadora, stunned:** … what?
> 
> **Stephen, delicately: **Clearly, we’re simply not clicking the way we’re supposed anymore. You must have noticed you’d been in respite care more often than usual these past few months, and we’ve been butting heads more than living harmoniously.
> 
> **Karen: **It’s not a comfortable environment for any party, and your siblings are starting to recognize it too. Perhaps that’s a sign that this just… isn’t a good fit.

Isadora chokes back her emotions, instead arguing as bluntly as she can manage. She points out that this has nothing to do with the foster siblings and everything to do with them -- they’re giving up on her because she’s not “normal” the way they’d like her to be. They’ve never known how to handle her, and now they’re giving up because they’re tired of pretending to put in an effort to understand her.

> **Stephen: **Now I wouldn’t say --
> 
> **Isadora: **Of course you wouldn’t, because that would go against your perfect charitable narrative. Take in kids and give them homes, sure, as long as doing so makes you feel good about yourself and offers no potential challenges that you might have to actually lift a finger to work through.
> 
> **Karen: **See, this is exactly what we’re talking about. If you were intent on making this family dynamic work --
> 
> **Isadora: **If _you_ were intent on making this work, you’d act like actual parents and try to understand the children you host rather than shaping them into your good samaritan trophies. When you’re an actual parent, you don’t just toss your kid out when they don’t suit you anymore!

Karen shuts the discussion down, stating that this is how things are going to be. Isadora reins in her frustration and puts on a stony expression. Karen continues to explain how long she’ll have to pack her things, what they’re doing to start arranging for her relocation, but sound goes fuzzy and sort of peters out.

* * *

**Song Cue ♫ ♪ “No Roots” as performed by Alice Merton || Performed by Isadora De La Cruz**

The bass line starts in as the Van Herschings continue to mutedly talk at Isadora, finally dismissing her. As she marches from the table and starts to move through the home she launches into the opening verse, keeping her emotions tempered for as long as it takes her to escape to the upstairs.

**INT. FOSTER HOME - ISADORA’S BEDROOM - NIGHT**

The door slams as she gets to the chorus, volume growing in pitch as she starts to meltdown over the ordeal. She’s being dropped again, removed and shoved off to the next person. Nothing ever lasts, no one ever stays. On top of everything else…

Enraged, Isadora rips a poster down off the wall. That destructive action seems to expand into an all-consuming energy, Isadora basically tearing her bedroom to shreds as she progresses through the rest of the number. It’s a dizzying display, leaving her surrounded by debris by the time the rendition comes to an end.

* * *

She stands amidst the ruins of what her temporary home used to be, breathing heavy and clearly exhausted. Then she leans back against the door and slides into sitting, tucking her head into her knees.

**INT. AAA - ERIC’S OFFICE - DAY**

The silence of Eric’s office is a stark contrast to the anger of moments earlier, the only sound being the active tick of the wall clock. Maya is seated in the chair opposite him, Eric patiently attempting to get her to speak about how she’s dealing with this. Anything at all.

She’s not biting. It’s truly jarring to see Maya Hart so quiet, usually so animated and the natural center of attention. She’s just… void, having nothing to say because she has nothing to give.

> **Eric:** I just want you to understand that there’s no _wrong_ way to process this. Whatever you might be feeling -- sadness, guilt, anger -- all of that is valid. You have the right to feel it, whatever it might be. You don’t have to process it alone.

For now, it seems like she’s content to do so. She continues her silence, avoiding his gaze as she stares blankly at the floor. Eric frowns, obviously wishing there was more he could do.

> **Anne Marie, pre-lap:** Please let me know if there’s anything you need.

**INT. AAA - JACK’S OFFICE - DAY**

ANNE MARIE WINTHROP is visiting Jack, having brought him lunch from one of his favorite spots. She’s clearly there to offer him comfort, well aware of how difficult this week is going to be for him. Whatever she can do to help, she wants to be able to do it.

Jack claims he’ll be fine, right now all he can do is focus on work and try to keep the tides level. She exchanges a brisk kiss with him, heading out just as Lucas appears in the doorway for a meeting.

The two of them nearly bump into one another, looking at one another in confusion. Anne Marie is certainly no administrator Lucas recognizes, and Lucas wanders the main office too casually to be just some random student swinging by for a visit. Yet, they have absolutely no sense of who the other person is.

Jack seems to sense their trepidation, jumping to introduce them. Anne Marie offers a hand to shake as he does so, which Lucas looks at with a mixture of reluctance and amusement. _Is she for real?_

> **Jack: **Lucas is one of the technicians in the junior class.
> 
> **Anne Marie: **Oh. Sorry if I’m being rude, I just -- Jack’s never mentioned you, is all.
> 
> **Lucas, flatly:** Yeah, well, there’s not much to say about me. _[ shaking her hand ]_ I’m sort of like the gum under his shoe he just can’t scrape off.
> 
> **Jack: **That’s not true.
> 
> **Lucas:** It’s okay though. He’ll get rid of me some day, I’m sure. A little more scraping and scrubbing, and all grime comes off eventually.

Jack cuts him off, stating he’s said quite enough. An interesting first impression, that’s for sure. Anne Marie delicately removes her hand from his, raising her eyebrows at Jack and assuring him she’ll see him after work. Lucas waits until she’s gone to speak, sliding into his usual seat.

> **Lucas:** You never mentioned you had a girlfriend.
> 
> **Jack:** That’s not exactly relevant information for you to know.
> 
> **Lucas: **We talk about everything else. You know everything about me. _[ bluntly ] _Shitty parents, booth hopping, failed not-relationships…

Jack waves him off, as that’s definitely not what he wanted to discuss. He cuts to the main reason he requested Lucas come by, checking in on how he’s handling the news about Farkle.

In an instant, Lucas clams up. He says he doesn’t see why he’s checking on him when there’s plenty of people way more distraught than he is. He and Farkle weren’t close. They weren’t even acquaintances. The only thing they had in common, in fact, was how hated they were by everyone else.

But that isn’t the point. When things like this happen, Jack states, people cope with it regardless of how immediately attached to the person they were. He wanted to talk with him and make sure he was okay, because he knows for a fact he won’t be going to chat with Eric. His behavior last week was indicative of that much. Lucas sheepishly claims he’s fine, and the only reason he acted that way was because he doesn’t need to have everyone in his business.

But it’s not convincing to Jack, and he continues to push out of concern until Lucas slightly cracks. He lashes out about yeah, he hasn’t been able to stop thinking about it. Not because he gave a shit about Farkle, but sort of because of exactly that reason.

> **Lucas: **So you want to know what I’m _feeling_? I’m feeling like absolute shit. But not for the reason everyone else is, the reason I _should_ be, because I’m heartbroken or sad or suffered some great personal tragedy. And that’s all part of it -- I feel like shit because I am shit. I’m shit because this horrible thing happened, and all I can focus on is me. Because we were both trash, but if anyone deserved it…_ [ huffing ]_ Because for three years, I treated Farkle like _shit_, and I can’t stop doing it to everyone else, and now he --

Lucas can’t bring himself to finish the sentence. He swallows whatever he was going to say, slouching back in his seat and pressing his knuckles to his chin. Jack attempts to process everything he just said, wondering where to even begin.

> **Lucas:** Is that what you wanted me to say? Is that what you wanted to hear?

He gets up without waiting for a response, making a quick escape. Jack sits there, dumbstruck, not at all sure how to unpack all of that. Wanting to help, but not having any idea how -- not even sure he can. Perhaps he should’ve heeded Eric’s advice about not pushing conversations…

**INT. AAA - HALLWAY - DAY**

Riley is at Farkle’s locker, having been opened by Harley to be cleaned out and returned. She’s gathering his things in a bag, also getting a feel for what she’s working with in whatever her grand idea is.

She sighs, shifting her focus to the inside door. There are still those lingering photos from last year, striking a nerve in her she wasn’t expecting. She gently touches the _Les Mis _cast photo, then shifts her gaze to one he has of him and Maya. It was taken on their hooky day, and somehow captures just how greatly Farkle cherished their friendship before he blew it all up.

Riley’s eyes are glossy, but she’s pulled from the moment by the conversation of a couple seniors a few lockers down. They’re discussing how heavy the week has been because of the junior class, neglecting to realize that the locker of who they’re chatting about is only a few feet away.

They both agree they’re eager for the weekend to unwind for a hot minute, highlighting the underground NYU party that they both got the deets for. Yeah, they’re still in high school, but this is one of those ones where they let seniors in for a few bucks so long as they dress the part and don’t go too overboard.

Interesting information to overhear. Riley absorbs the details as she hides behind Farkle’s locker door, stopping herself just in time from subconsciously bending his photo of Maya.

**INT. AAA - BLACK BOX THEATER - DAY**

The bell rings, pulling the junior class back together for lecture. They all saunter into the black box, the mood somber and all eyes avoiding the empty seats in the room. One less occupied than it should be. A couple of students are visibly shaken, like NICK YOGI who is far from his usual level of energetic, and HALEY FISHER, who is wiping tears on her sleeve a few rows back.

Harper steps up to the board and attempts to proceed on like business as usual, but she keeps losing her train of thought. She gets caught on Haley crying in the back of the room, wanting to say something, but remembering what Jack and Eric said about operating with caution.

> **Charlie: **Miss Burgess? _[ after she looks at him ] _Are you alright?

No. No, Charlie, she’s not. As if the question is the trigger, Harper starts to cry. She apologizes and tries to pull it together, but then she’s sobbing harder. Totally eclipsed by the reality of what has happened and unable to run away from it any longer.

The A class stares at her, uncertain what to do or how to respond. The room feels frozen in the agony of it, until Shawn steps up and joins Harper at the front of the classroom. He leans in close, muttering to her with a semblance of privacy.

> **Shawn: **Go. I’ve got them, just go.

Harper blinks at him, stunned, but takes his directive. She rushes out of the room, still trying to pull herself together. After a moment of uncomfortable silence, Shawn awkwardly clears his throat and then attempts to take over the lesson to the best of his ability.

**INT. AAA - DRESSING ROOM HALL - DAY**

Catching up with the junior A class, they’re scattered about the auditorium during breakout sessions. But no one is actually rehearsing anything, mostly just coming together to comfort one another. DARBY WINTERS and SARAH CARLSON are in the dressing room hall, Sarah hugging Darby as she cries.

**INT. AAA - AUDITORIUM - DAY**

In the wings, Zay, Yindra, and Nigel are seated on some spare acting blocks. Charlie and Clarissa are in the backstage area, comforting a distraught Haley who cannot seem to stop crying. In the back center section of the house, the techies are huddled together. NATE MARTINEZ has his arm around DAVE WILLIAMS, who is flushed and rubbing his eyes. JEFF MONROE is massaging Jade’s shoulders while she continues to costume in spite of how she’s actively crying, preferring to focus on something productive rather than wallow.

Dylan breaks from the techie huddle, gently scratching Asher’s back as he passes him to let him know he’s going. He makes his way back down through the house and up onto the stage, heading to the other side of the wings in pursuit of something or someone specific.

**INT. AAA - COSTUME LOFT - DAY**

He finds who he’s looking for soon enough. Isadora is no longer so in control of her emotions, aggressively sawing at a piece of wood with safety goggles on. Dylan claims he’s happy he found her, as he wanted to see how she was doing. He knows she’s been kind of dealing with a lot of shit lately, let alone on top of this.

> **Isadora, unimpressed:** Oh, do you now?

Isadora pulls off her goggles and steps away from the wood, avoiding looking at him. He persists in expressing his concern anyway, stating that they’re friends and it’s important for people not to feel alone right now.

Unintentionally, this comment is the straw that breaks the camel’s back. Isadora snaps, saying it’s a shock for him to call them that when they’ve hardly interacted much in the last few months. Where was he when the entire techie crew decided to cold shoulder her? Or after the blow up in class when her mom visited -- he sure didn’t come running after her then. He didn’t try to get Lucas to lighten up on her, none of them thought to invite _her_ to their new techie holiday plans.

Then it just spirals from there, Isadora no longer able to keep the lid on her emotions about anything. What’s going on with the Van Herschings, how her friendship with Lucas has deteriorated, the fact that she can’t seem to get the balance between two worlds right. How she _knew_ something was up with Farkle, and she tried to reach out, but she didn’t do it right because she never does anything right. She could’ve done more, and yet she fucked up that too.

Dylan listens without argument to all of it, an unfair but willing recipient of all her anger. He lets her snarl at him and throw blame around and completely meltdown until she runs out of steam, collapsing down against the chain link that separates the costuming supplies from the set building supplies. She descends into tears, hiding in her arms and at rock bottom.

For a beat, uncertainty. Then, without a word, Dylan walks over and joins her on the floor under the shadow of the costume loft. He doesn’t touch her, or offer an uplifting word. He simply sits with her, being another presence in the room. There with her to sort through all that turmoil.

Tangible proof that she’s not as alone as she feels.

**INT. ANGELA’S APARTMENT - NIGHT**

ANGELA MOORE returns home, greeting Shawn who is working on the couch. She tiredly explains that she went to pay a visit to the Minkus family.

> **Shawn: **How are they?
> 
> **Angela: **About how you’d expect.

She settles onto the couch with him, allowing him to drape an arm around her shoulders. She cuddles close, shaking her head and claiming that she can’t imagine what they’re going through right now. She only knows what she’s struggling to grapple with, and that’s already difficult enough. Shawn nods along, kissing her temple.

> **Angela: **I just keep thinking… if I hadn’t gone away. If I hadn’t taken the job, you know, and I was still his teacher…

Shawn argues against the train of thought before it even starts. There’s no sense in trying to figure out if one or two tiny decisions were deciding factors in something like this -- and they rarely ever are anyway. She was his favorite teacher, after all, if anything she already did more good for him than anyone else.

Angela sighs, trying to accept that as truth. She asks how everyone else at AAA is doing, and Shawn admits it’s tough. He mentions what happened with Harper, speaking sympathetically about his co-teacher for perhaps the first time. As he’s doing so, the reality of their warped dynamic seems to hit him full force.

> **Shawn:** … fuck. I’ve got to fix this, Ange.

Her expression says it all. _Maybe so. _He gives her another long kiss on the forehead before climbing to his feet.

**INT. FOSTER HOME - LIVING ROOM - NIGHT**

Isadora is meeting with her SOCIAL WORKER, the latter explaining what this process will be like as she is relocated. She’s hardly listening though, as this is far from the first time she’s heard the spiel.

When the caretaker explains that she will be squatting at the Van Herschings until she’s assigned a new home, that seems to strike something in Isadora. From the way her eyes are burning, it’s clear that doesn’t resonate with her. No way is she going to just hang around in a place where it’s been made clear she’s no longer welcome.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley is pacing the living area, on the phone with TOPANGA LAWRENCE. She’s explaining the laborious process of moving upstate, only switching topics to what is going on with Riley far too long into the conversation.

> **Riley, flatly:** Well, I don’t know if you heard, but one of my classmates overdosed. So.

Although her advice is well-meant, Topanga’s immediate response is to start problem-solving, which is not what Riley wants to hear. She can’t even get a word in about her project for Farkle, Topanga dominating the conversation with thoughts on how to cope and questioning the environment of the school that would push a student to that.

> **Topanga:** You know, there really are some excellent schools here upstate. If you’re ever feeling as though things at the art school are just too hectic…

A nice suggestion, but exactly the opposite of what Riley needs right then. She’s sick of jumping from place to place only for it to constantly fall apart -- what she wants is for the home she’s built at AAA to become hospitable again. All in all, the conversation leaves Riley feeling more claustrophobic, directionless, endlessly doing the wrong thing regardless of how much right she’s trying to do.

She hangs up, collapsing into the bay window and looking out towards the twinkling lights of the city. Still bustling with activity in spite of how the world seems to have frozen around them.

She could sure afford to unwind for a hot minute…

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Maya’s phone is ringing, Katy lighting up the screen once again. Maya reaches out and hits ignore, stuffing her phone in her pocket.

Her expression is still hard to read as she gathers her duffle bag onto her shoulder. She’s dressed in dark clothing and obviously on a mission, no longer doing nothing but gearing up to certainly do something.

She crawls out onto the fire escape with her duffle, disappearing into the night.

**EXT. LUCAS’S APARTMENT - LUCAS’S FIRE ESCAPE - NIGHT**

Lucas is seated out on his fire escape, also looking out into the night. He’s clenching his jaw, picking at the scabs on his hands again, seeming restless and a far cry from coping well over someone he wasn’t all that close to.

Swiftly, he pulls out his phone and dials a number. He waits impatiently until they pick up, eyes shining with mischief.

> **Lucas: **You busy? _[ a beat ]_ I gotta do something.

**INT. GARDNER HOME - DINING ROOM - NIGHT**

The Gardner family is assembled for dinner, ELEANOR GARDNER leading them in prayer before they settle in for the meal. This evening is a bit out of the ordinary, however, as Eleanor includes a plea of forgiveness for Farkle’s mortal soul and to have mercy on him. Charlie opens his eyes in shock, blinking at his mother as she wraps it up with prayers towards the Minkus family and a curt amen.

Charlie is the only one not to repeat the word. Eleanor glances at him, surprised to see the disturbed expression on his face. She questions what’s going on, and Charlie asks what the heck she meant by including Farkle and asking for his “forgiveness.”

Eleanor treads cautiously, understanding that Charlie is likely overwhelmed by what’s happened and thusly pardons his attitude. She reminds him that suicide is a mortal sin, one of the gravest a human can commit as it goes against God’s power over human life. She’s merely hoping the Lord will take mercy on him when the time comes for his judgment.

> **Charlie: **Well, don’t you think that’s a bit cold?
> 
> **Eleanor:** I think it’s a bit cold to decide that your wants and desires are greater than the will of the Lord.
> 
> **Charlie: **Maybe, but… don’t you think he deserves a little more sympathy? You don’t know what was going on with him, or even who he was. The Bible even says that mental health can absolve responsibility of it as a mortal sin --
> 
> **Eleanor: **Which is up for Him to decide, not me, and certainly not you.

Charlie wants to say more, but he finds he’s out of words. He just feels sick, staring at his mom as if he doesn’t even recognize her. Rosie looks back and forth between them, uncertain. Ambrose starts to say something to assuage the tension, but Charlie beats him to it. He pushes away from the table.

> **Charlie, disgusted: **I need to be excused.
> 
> **Eleanor:** Perhaps that’s a good idea.

He marches out of the room without looking back. Eleanor and Ambrose watch him go, both appearing concerned. Rosie and Daisy keep their heads down, pushing around their food but not eating it.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie escapes into his room, slamming his door behind him. He paces restlessly before flopping down on his bed, grabbing his pillow and screaming into it to muffle the sound.

When he puts it down, he pushes himself back into a sitting position. He runs his hands through his hair, letting out an exhausted exhale. His gaze drifts out his balcony and towards the lights of the city, Charlie getting lost in the view for a moment.

Slowly, his expressions hardens to a glare.

* * *

**Song Cue ♫ ♪ “A Lot of Livin’ To Do” as performed by _Bye Bye Birdie_ Original Broadway Cast || Performed by AAA Juniors**

Charlie kicks off the first verse, on edge and bristling with energy. He pushes himself off his bed and into a pace, then seems to be struck with an idea. He quickly packs a bag and climbs out onto his balcony.

**EXT. GARDNER HOME - NIGHT**

Charlie lands outside his balcony and looks up at it as he backs onto the sidewalk, finishing off his verse as he sprints towards his car.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley takes up the brunt of the next verse, singing about _“men of 19 or 20, who are suave and reckless and true.” _She’s dressed up and looking glamorous in bold makeup, a leather jacket she took from Maya’s closet, and semi form-fitting clothes, but she also… doesn’t really look like herself. She looks as though she’s trying to be something she’s not -- which is precisely what she’s doing.

She musters her confidence in the mirror before grabbing her purse and clambering out of the bay window.

**INT. FOSTER HOME - NIGHT**

Isadora is following the same routine. She has stuffed everything she cares about into a backpack and an overnight bag, clambering down the stairs and marching into the night without anyone noticing. Not intending to ever come back.

**INT. AAA - AUDITORIUM - NIGHT**

Kicking off a pattern for the episode, the rest of the number is split between events happening in real time, and a fictionalized performance on the AAA stage. In this case, that performance belongs to the A class (sans everyone featured out and about), Nigel taking on the vocal heft of the performance.

The strangest thing about their otherwise enjoyable rendition is how jarring it is to see Asher without Dylan. Asher is amidst his classmates, dancing with Jade and the other techies in the grounded stage performance, but his boyfriend is nowhere to be found.

**EXT. NEW YORK STREETS - NIGHT**

That’s because Dylan, on the other hand, has met up with Lucas and they’re jogging the back streets of a wealthier district in the city. They’re alight with chaotic energy, as Lucas is kicking up his thievery to even higher levels tonight. Dylan tosses him a tool as they come around one of the fancy, shiny sports cars sitting parked on the street, Lucas starting the process of breaking into the vehicle.

He succeeds, pulling open the door and disabling the security mechanism swifter than it can react. He and Dylan exchange grins, Lucas climbing behind the wheel.

**EXT. NEW YORK STREETS - NIGHT**

Maya has taken up residency in an alleyway, a busy street just overhead. She’s hard at work, opening her duffle to reveal an assortment of spray paint. Her expression is removed and determined, setting to work as she starts graffiting right over the camera.

**EXT. BABINEAUX HOME - NIGHT**

Zay’s car is the only one in the driveway as Charlie pulls up on the curb, abruptly killing the engine. He jogs up to the door, knocking urgently. He’s practically bouncing on the balls of his feet, unable to stay still.

**INT. BABINEAUX HOME - ENTRYWAY - NIGHT**

Zay descends from upstairs and pulls open the door in confusion, finding Charlie on the doorstep. Not even a second passes before Charlie steps inside and pulls Zay into a kiss, showing zero hesitation in initiating.

Something about this kiss is _different_, too. Insistent. Impatient. Zay is startled for a moment until he catches up and kisses him back, shutting the front door.

**INT/EXT. NEW YORK STREETS / STOLEN CAR - NIGHT**

Lucas and Dylan seem to be having the time of their lives, speeding down the night streets in their joy ride vehicle. Dylan shouts into the night and nudges Lucas on the arm, the latter grinning and picking up speed.

**EXT. NEW YORK STREETS - NIGHT**

Isadora is wandering the streets, obviously not sure where the hell she’s going to go. She’s so distracted she almost walks right into the streets, only getting startled out of it when a police siren snaps her out of it.

She hops back onto the sidewalk as the cruiser breezes past, lights blinking and sirens blaring.

**INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT**

Things have grown serious for Zay and Charlie as well. They’re deep into kissing, but Charlie still seems to be operating with a more frantic tenor than normal. There’s a moment where Zay pulls back and starts to question if this is okay but Charlie steers right past it, pulling him back into it.

Kisses deepen… shirts come off… Zay fumbles back onto the mattress and Charlie follows...

**EXT. NEW YORK STREETS - NIGHT**

Maya is finishing up her project, startled out of her focus by the distant sound of sirens. She scrambles to gather her things and takes off into the darkness.

**EXT. COLLEGE PARTY - NIGHT**

Riley approaches the entrance to the underground college party, being held at what seems like an old warehouse of some kind. She makes tentative eye contact with the older guy monitoring the doors, but he doesn’t pay her any more attention than the other college girls slipping inside.

She smiles to herself, descending down the steps and into the party scene.

**INT/EXT. NEW YORK STREETS / STOLEN CAR - NIGHT**

The fun comes to an end about the same time as the song, the A class underscoring the blare of sirens as they catch up to Lucas and Dylan. The world around them reflects blue and red as Lucas stares at the rear view mirror, expression shifting from thrilled to alarmed.

> **Lucas, fiercely:** _Shit_.

They pull over. Dylan glances over his shoulder at the lights and then back to Lucas, panicked.

* * *

**INT. AAA - ERIC’S OFFICE - NIGHT**

Eric is still at school, working overtime and cleaning up his office as an excuse to avoid everything else. His fragile bubble pops though as he finishes clearing his desk, stumbling upon some old notes he made to himself about Farkle and his behavior.

He stares at it, hands shaking. His expression twitches, betraying his strong facade.

**INT. HARPER’S APARTMENT - NIGHT**

Harper is pacing her apartment, on the phone with STELLA CASTILLO. She assures her that she doesn’t need to come home from her touring gig early, the situation is tough but she will handle it just fine. She misses her though, and can’t wait to see her again.

There’s a knock at the door, a surprise to Harper. She lets Stella know she has to go, hanging up and going to answer the door.

Shawn is on the other side, obviously a shock to her. He acts nonchalant as he greets her with an eyebrow raise, awkward but just charming enough that he can pull it off.

> **Shawn: **Wanna grab a drink?

Off Harper’s uncertain expression, as “Die Young” floats in --

**INT. COLLEGE PARTY - NIGHT**

* * *

**Song Cue ♫ ♪ “Die Young” as performed by Kesha || Performed by Riley Matthews**

Speaking of drinking, the college party is in full swing! Riley is right in the center of it all, leading a spunky and high energy rendition of this pop classic. She’s parading around with red solo cup in hand, dancing with friendly college girls, having a rocking good time. She also catches the eye of a handful of boys, being a bit flirtatious in her devil-may-care state. _There are older men of 19 or 20…_

It’s the most wild she’s ever been, and it’s obvious she’s reveling in it. Accommodating and unassuming Riley Matthews, finally doing something because she damn well feels like it.

* * *

**INT. JACK’S APARTMENT - NIGHT**

Jack and Anne Marie are having a quiet conversation, interrupted by a knock at the door. Jack goes to answer it, unexpectedly finding a winded and very flushed Eric standing outside.

> **Eric, broken:** It’s my fault. It was my fault.

Jack allows him inside the apartment, guiding him in and immediately trying to get him to calm down. But Eric is in emotional hysterics, doing everything aside from actually crying. He can hardly breathe, he’s tripping over his own words, the works. Jack exchanges a look with Anne Marie, not sure what to say.

She gets the message, grabbing her coat and purse and stating that she’ll give them some space. As she goes, she gently touches Eric’s shoulder and expresses her sincere condolences for everything that has happened. Then she exchanges a cheek kiss with Jack, stepping out and leaving them alone.

Eric grows more frantic, totally incomprehensible. Jack guides him towards the couch and gets him to settle, trying to get him to listen instead of spiraling out of control.

> **Jack:** Eric.
> 
> **Eric: **How many times did we say we needed to bring him in to chat? How many times did I remind myself that I needed to see him but let it get brushed aside by something else? How many times _did_ I meet with him, only to let him go without making any progress?
> 
> **Jack: **Eric --
> 
> **Eric: **We knew, Jack! I knew that something was wrong, I saw the signs, and I didn’t act quick enough! I failed him! It’s my fault, it’s my fault he --
> 
> **Jack: **_Eric_!

Jack grabs his shoulders, jostling him lightly to get him to pause. He does, allowing Jack the chance to retort. He shifts one his hands to grip the side of his neck, locking eyes with him.

> **Jack:** This is _not_ your fault.

Eric looks like he wants to argue, but he’s out of words. He stares at Jack, eyes glassy and still trembling. Jack holds his gaze… and then pats his shoulder gently.

> **Jack:** Let me make some coffee.

**INT. NYPD PRECINCT - HOLDING CELL - NIGHT**

Dylan and Lucas are seated on the bench, the former looking nervous while the latter is slouched back against the concrete wall, resigned. Dylan is fidgety, twisting the bracelets on his wrist and tapping his feet and bouncing his leg.

> **Dylan:** This is bad. This is so bad.
> 
> **Lucas, sharply: **Would you calm down? We’re white, we’ll be fine.

The door opens, an OFFICER entering and unlocking the cell. She informs them that someone paid their bail, but they have paperwork to process so they absolutely should not leave the precinct. However, they can retrieve their things and meet with their bail out. Lucas and Dylan exchange a look, following the officer out of the cell.

**INT. COLLEGE PARTY - NIGHT**

Riley is just finishing pouring herself another drink when THOR (20) sidles up to join her. He’s attractive, sandy-haired, just the right amount of charming. He engages Riley in conversation, asking her a little more about who she is and commenting that he hasn’t seen her around before.

The conversation seems fun for her. She enjoys playing mysterious, leaving him with little answers but accepting his invitation to go dance.

**INT. JACK’S APARTMENT - NIGHT**

Eric has had the chance to settle, no longer frantic but instead having transitioned into a numb sort of state. Jack returns with steaming mugs, handing one to Eric who takes it robotically. Jack sits down next to him, placing the coffee on the table.

> **Jack:** Do you have any idea how much I respect you? Especially now.

Jack points out how hard the last week was on all of them, but especially Eric. And now he has to carry his feelings about it all on top of the collective school emotions, hardly getting any time to process it for himself. So it’s no wonder that he’s feeling overwhelmed --

> **Eric:** I could’ve done something. I could’ve stopped it.
> 
> **Jack: **You know that’s not true. You know that’s not how these things work.
> 
> **Eric:** It was my job. It’s my job to protect them, and I failed.
> 
> **Jack:** Eric, listen to me. _[ leaning forward ] _This is not your fault. You did not fail. And if you did, then it’s on both of us. It’s _both_ of our jobs to take care of those students. So if it’s on you, then it’s on me too.

He reaches forward and pats Eric’s knee, getting his attention. Eric stares at his hand, then slowly lifts his gaze to meet his eyes.

> **Jack:** You know we work together. We should’ve tackled this together, and we’re going to handle it together. _[ softly ] _You are not going to face this alone.

Eric hangs on his every word. There’s something about the moment that’s deeper than just a moment of camaraderie, one that neither of them can place but that certainly exists between them… when Jack’s cell phone rings, making both of them jump. He digs for it in his pocket.

> **Jack, apologetically:** Could be the Minkus --

Eric nods, understanding. Jack jumps to his feet, frowning at the number on his caller ID as he steps away to answer it. Eric takes the moment to collect himself, letting out a sigh and hiding his head in his hands.

He straightens up when Jack shouts from the kitchen, startling him.

> **Jack: **He _what_?

Jack flurries back into the room a second later, scrambling to find his coat. Eric asks what the hell is going on, but in his frenzy Jack isn’t very helpful.

> **Jack:** I have to -- Lucas. He -- I need to go to the station --
> 
> **Eric: **The _station_? What --
> 
> **Jack:** Please, feel free to stay as long as you need. I’ll be back soon. _[ a beat ] _Hopefully. Shit. Jesus --

Jack exits in a huff, leaving Eric alone in his apartment.

**INT. COLLEGE PARTY - NIGHT**

Dancing with a cute stranger at a hazy college party is all fun and games… until it isn’t. Although it doesn’t seem all that out of place considering how other duos around them are acting, when Thor makes an unexpected move and kisses Riley’s neck she clearly isn’t on the same page. She might be tipsy, but she’s cognizant enough to know that’s _not_ the direction she wants to go in.

She jerks away on instinct, Thor still keeping a hand on her arm. He asks her if everything is okay, seemingly innocent. She clears her throat and searches for an excuse, laughing nervously and stating that she doesn’t feel much like dancing anymore.

In the midst of backing away, somehow Thor manages to back her into a dead end against a wall. He suggests that they can go somewhere else if she wants, not reading into her discomfort despite how obvious it feels. Hands shaking and feeling distinctly cornered, Riley grasps for any excuse she can think of.

> **Riley: **I, um… I have to use the restroom.

**INT. COLLEGE PARTY - BATHROOM - NIGHT**

Riley skirts past a couple of drunk college girls, ducking into a stall and trying to catch her breath. She starts to tear up but talks herself down, knowing she needs to keep her cool. She needs to stay calm, and then she needs to figure out an escape plan.

After a moment, she pulls out her phone. She fumbles to open it, going to her messages and scrolling back to find the right contact.

**INT. NYPD PRECINCT - LOBBY - NIGHT**

Dylan and Lucas emerge from the hall with the officer, retrieving their items from a plastic bag from when they were arrested. As they direct their attention to the main waiting area, the identity of who bailed them out quickly becomes clear.

Asher marches away from the counter, eyes wide and voice frayed.

> **Asher:** _WHAT THE HELL HAPPENED?_

He’s interrupted before he can even finish the question, Dylan barreling him with a bone-crushing hug. He embraces him with everything in him, obviously so relieved he’s there.

Lucas looks a little less thrilled. He stares at them, confusion shifting to defensive disdain.

> **Lucas: **You called _Asher_?

Asher pulls back from the hug first, glancing between them. Dylan speaks before he can address Lucas, asking how the hell he paid to bail them out.

> **Asher, reluctantly: **… the fund.

Dylan’s face drops, mortified. The last thing Asher should be doing is dipping into his college fund to get them out of trouble -- especially after expressly stating he needed space.

> **Dylan:** I’m so sorry. I’m sorry, I didn’t know who else to call. They said call someone, and my first thought was --
> 
> **Asher:** It’s fine. But I’ll ask again. _[ looking right at Lucas ]_ What the hell happened?

Lucas holds his glare, not knowing what to say. He’s saved by the bell, or in this case, his phone ringing. He steps away to answer, turning away from Dylan and Asher. As he frowns at the caller ID and answers the call, in the background Asher takes Dylan’s face and questions whether or not he’s okay.

> **Lucas: **Hello? Riley?_ [ a beat ]_ Wait, what?_ [ a beat ] What_?

Dylan and Asher shift their attention to Lucas, watching him warily as he starts to pace. Whatever he’s hearing on the other end, it can’t be good news.

> **Lucas: **Stay where you are. Don’t talk to them. Where are you?_ [ a beat ]_ Okay, stay put. It’s going to be okay. I’m coming. It’s going to be fine.

Lucas hangs up, alight with restless energy again. He marches back over to the other two, exhaling shortly before locking eyes with Asher.

> **Lucas: **I need your car.
> 
> **Asher:** I’m -- what? No.
> 
> **Lucas: **I need to go. Riley is -- I have to go now.
> 
> **Dylan: **What’s wrong with Riley?
> 
> **Lucas: **I have to go. Give me your keys.
> 
> **Asher, stunned:** You’re seriously telling me --
> 
> **Dylan:** They said we couldn’t leave --
> 
> **Lucas: **GIVE ME YOUR KEYS!

Asher flinches, reflexively tossing them in his direction. Lucas catches them, not even saying thanks as he sprints out the doors. Dylan and Asher whip around to watch him go, wearing matching shocked expressions.

> **Dylan, with dread: **We’re so fucked.

Asher glances at him then back to where Lucas left, slowly shifting from shocked to pissed.

**INT. JACK’S APARTMENT - NIGHT**

Eric has returned from the kitchen with another cup of coffee, familiar enough with Jack’s apartment from all the hours they’ve spent working together. He settles back onto the couch, breathing deeply and trying to get himself to relax.

He shifts his focus to the paperwork Jack has on the table -- the student files of the junior class. Likely in preparation for their senior summary reports. He flips through them idly, smiling lightly at the grinning portraits of the junior class and their photos from the last three years.

Eric stops cold when he gets to Farkle, smiling smugly back at him from his sophomore student portrait. There’s a subtle shift, just barely perceptible, between that image and the one from junior year. Eric swallows, gently putting down the report back onto the table. He puts it right next to Isadora, and Charlie on the other side.

All of them, right there in front of him. All having no idea how much they mean to him, how desperately he wants to protect all of them like his own family.

* * *

**Song Cue ♫ ♪ “These Are My Children” as performed by _FAME_ Original Broadway Cast || Performed by Eric Matthews**

Eric kicks off this impressive vocal performance, sorting through the student files as he articulates how important this role and his influence on the children means to him. He uses the full expanse of Jack’s living room to work through his emotion, delivering a powerful rendition.

**INT. AAA - AUDITORIUM - NIGHT**

In keeping with the other performances of the evening, the number is split half between his location and half on the AAA stage, railing into the performance with everything he’s got. It’s cathartic, at the very least, and it certainly makes the point crystal clear.

The students at Adams _are_ his children. And he never wants to let another one slip through the cracks ever again.

* * *

**Song Cue ♫ ♪ “HUMBLE.” as performed by Kendrick Lamar || Instrumental**

**INT. ASHER’S CAR - NIGHT**

Lucas is parked outside the college party, staring at the building with obvious reluctance and disdain. He can hear the bass thumping from outside, and a crowded, loud, rowdy hole in the wall is the last place he should be when he’s already on the block for the joy ride.

But he goes anyway. Lucas scowls and climbs out of the car, slamming the door.

**INT. COLLEGE PARTY - NIGHT**

From the moment he enters the space, it’s overwhelming. Lucas frowns at the haze of smoke and odor of alcohol and weed, weaving his way through the crowd and scanning for Riley. College girls spot him and share interested looks and giggles, but he doesn’t pay any attention.

Finally, he finds her.

> **Lucas:** Riley -- Riley!

He pushes through the crowd to get to her, Riley whipping around when she hears his voice. Her eyes are wide and uncertain.

> **Riley:** Lucas?

He finally makes it to her side, taking her arm and pulling her from the fray. He double takes when he actually gets a good look at her, taking in her… _new_ style. He seems a bit torn on whether or not he should consider it attractive or not, and well aware that this isn’t the time to be thinking about that anyway, but Thor addressing them grabs his attention before he can make a decision either way.

It’s not just Thor, but Thor with friends. There’s about three of them now, and Thor questions where Riley is going so soon. Lucas can tell from her body language and the way she kinda ducks behind him that they’re what caused her to call him in the first place. He does his best to keep things from escalating, calmly explaining that they’re just going to head out.

> **Thor:** Oh, well, you don’t have to rush out. I thought we were having a good time. Weren’t we? _[ off Riley’s hesitant expression ] _Of course she’s shy now. It’s okay, you don’t have to get bashful around your boyfriend.
> 
> **Friend, slurring:** Didn’t have those problems earlier.
> 
> **Friend 2: **Thor was just telling us how friendly you are. Thought we’d come get to know you ourselves.

Riley looks like she’s going to be sick. Lucas narrows his eyes, fighting a losing battle in keeping control of his anger.

> **Thor:** It’s not like it’s a problem, you’re welcome to join us. _[ loftily ] _Thought we might have more fun as a group, actually.
> 
> **Lucas, sharply: **Yeah? You think it’s fun to hit on a minor?

That comment seems to hit something in Thor’s drunk friends, but they’re not sober enough to remember _why_ that should be problematic. There’s a little more of a tense back and forth until Riley tries to end it, taking Lucas’s arm and starting to pull him away.

> **Riley:** Lucas, let’s just go. Come on.
> 
> **Friend: **Yeah, go on then, bulldog. Woof!

Lucas is scowling, but he follows Riley’s directive. It’s only after they’ve turned away that Thor makes a crucial mistake.

> **Thor:** Her loss. Fine, then. Go be a nobody somewhere else, slut!

Everything happens so fast. In a second, Lucas has spun back around and thrown a punch, hitting Thor so hard and quick that he falls backwards into his friends. As they’re reacting and regaining their bearings, Lucas doubles back to Riley and starts to drag her out of there.

> **Lucas: **Come on. Come on!

Riley tears her gaze away from the carnage, taking his hands and holding on for dear life as he shoves his way through the crowd.

* * *

**INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT**

Zay and Charlie have evidently been making bold moves of their own. The untidy quality of the bed sheets is enough of an indication, although Charlie is in the process of fixing them for the sake of fixing something. He might want to start with his hair, which is equally messy, but that seems to be far from his mind. He’s fidgety, looking caught between guilt and discomfort as he restlessly makes the bed.

Zay returns from the hall, having just done some tidying up himself and pulling on a sweatshirt. He tells Charlie not to worry about it, in much lighter spirits than his boyfriend. Charlie can hardly look at him, swiveling away once his distraction of nitpicking has been taken away.

Sensing that something might be up but not wanting to jinx things, Zay searches for upbeat ways to break the silence. He’s rambling, almost, scrambling for anything to say that will make the oddly serious air between them disappear.

> **Charlie, suddenly: **This wasn’t good.
> 
> **Zay:** … well, I don’t know if I would say _that_. Sure wasn’t perfect, but uh, you know, I don’t think it’s necessarily supposed to be. First time._ [ a beat ]_ Like a lot of things, I think it just takes practice --
> 
> **Charlie: **No, no, not that. It was… fine. I mean, it was okay. I don’t -- it wasn’t good that we did this. That I did this.

It grows quiet. Zay chews the inside of his cheek, obviously trying to grapple with the unpleasant turn this is taking. He isn’t sure what to say.

> **Zay:** If you mean… if this is about the “Heavenly Father,” or whatever --
> 
> **Charlie: **No, it’s not that either. It’s just… I just think that… _[ exhaling ] _I don’t think I did this for the right reasons.

Zay frowns. Doing what they decided to do tonight is already an overly emotional endeavor, and that’s heightening the way they’re reacting to one another. But he knows he doesn’t want the conversation to go where it’s going.

> **Zay, quietly: **… you said it was okay. I asked you like, a thousand times, because I wanted it to be okay --
> 
> **Charlie:** I know. And when I said it --
> 
> **Zay:** I didn’t even know if -- I wasn’t sure either, you know? _[ quicker ]_ I didn’t know if I was ready either but I figured if you were, if you seemed so sure, then --
> 
> **Charlie: **It’s not that I… it didn’t have anything to do with you.
> 
> **Zay:** Then why? Why would you do it if it wasn’t about you and me?

Charlie grimaces, running his hands through his hair. He snaps out a response, explaining what his mom said at the dinner table about sin and this backwards way of thinking about Farkle, and he can’t stop thinking about Farkle in general, and how life is so fucking short and abrupt and holds all these choices that he has no control over. So he just… he just wanted to do something. He wanted to choose to do something and have control over it and feel like it was okay.

> **Zay, stammering: **And you didn’t think -- you didn’t think to tell me about that?
> 
> **Charlie: **I don’t know! _[ voice cracking ]_ I just knew that I wanted to be with you, and I wanted to feel something, and have control over something, and not have my mom’s voice in my head confirming that empathy means nothing if the Lord doesn’t agree and how I can never fucking tell her about this --
> 
> **Zay, exasperated: **Are you ever going to tell _anybody_?

That’s enough to stop Charlie dead in his tracks. Zay is looking at him, vulnerable and worked up, and Charlie wants to be able to tell him what he wants to hear. Even in the midst of how confusing and overwhelming it all is, he wants to be able to give him that reassurance.

Instead, he hesitates. He hesitates just a second too long.

Zay’s lip trembles, expression shifting as he attempts to keep it together. He shakes his head, turning away from him and letting out a shaky breath.

> **Charlie:** Zay, I’m not saying that… like I said, this doesn’t have anything to do with you.
> 
> **Zay:** It should. This is one of the things that should.
> 
> **Charlie: **I didn’t mean to --
> 
> **Zay: **You know that I don’t… I would never expect you to… but we’re supposed to be doing this as a team. We’re supposed to be together on this.
> 
> **Charlie, tearing up:** We _are_ \--
> 
> **Zay: **And it’s supposed to be leading towards something! If we care about each other and this means something it’s supposed to be moving towards a future -- you even said just last week that…

He can’t get his thoughts together. He can’t wrap his head around how spectacularly this has spun out, how he feels closer to him than ever but also betrayed and confused and a cocktail of every other emotion they’ve made each other feel in the last eight months.

> **Zay:** What are we even doing?

Charlie shakes his head, stepping forward and taking Zay’s arm.

> **Charlie:** We are -- Zay, listen to me. Listen. _[ choked up ] _Zay, I --
> 
> **Zay:** What?

Zay whips around to face him, meeting his gaze. Not letting him hide, waiting for him to say what he hasn’t been able to say.

> **Zay, softer: **… what do you want to say to me, Charlie?

Charlie stares at him, glossy-eyed. Mouth parted open, the words on the tip of his tongue -- what he feels so strongly it’s consumed him inside and out.

But he can’t say it. He can’t put it into words the way Zay needs to hear.

Zay nods, not surprised. He gently pulls his arm from his grasp, turning away from him and wiping at his eyes. Charlie stands frozen, unable to move.

> **Zay: **_[ almost inaudible ]_ I think you should go.
> 
> **Charlie, tearfully:** Zay --
> 
> **Zay: **Please. _[ a beat ]_ Just go.

Charlie waits a moment longer, hoping things will go back to before. Hoping somehow everything will go right side up again, that they’ll be the same… but it doesn’t. It won’t. He swallows back his tears and robotically gathers his things, glancing over his shoulder at Zay one more time before he disappears from the room.

Zay grits his teeth until he hears the front door close. Then he lets out a broken exhale, collapsing onto the bed and hiding his head in his hands.

* * *

**Song Cue ♫ ♪ “Secret Love Song, Pt. II” as performed by Little Mix || Performed by Zay Babineaux**

Delicately singing the opening notes of this coveted Little Mix ballad, Zay works his way into what is his most heart-wrenching and emotional performance to date. There’s no choreography or extravagance to distract from the killer vocals, just raw emotion and impressive pipes.

**INT. AAA - AUDITORIUM - NIGHT**

His performance follows the same pattern as the others, splitting its time between his grounded location and the imaginary AAA stage.

**INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT**

Zay rounds out the piece by approaching his window, looking out and seeing Charlie in his car. He’s clearly crying, mirroring Zay’s own tears, but right now there’s too much distance between them. Too much weight from hasty decisions that they can’t take back or redo.

He pulls it together and drives away, Zay watching him go. Then he slides back down against the wall, leaning his head against the window sill.

* * *

**INT. BLUE’S APARTMENT - NIGHT**

There’s a knock at the door, BLUE NGUYEN jogging in from the bedroom to answer. He looks through the peephole and then pulls open the door, a windswept and tired Isadora standing there with her bags on the doorstep.

Neither of them say anything. Blue steps back and lets her into the apartment without hesitation, gently shutting the door behind them.

**INT. ASHER’S CAR - NIGHT**

**Song Cue ♫ ♪ “Love Like This (Acoustic)” as performed by Kodaline || Instrumental**

Lucas has parked a ways away from the party in a mostly empty parking lot. The music plays softly over the radio, set to one of Asher’s usual stations, but otherwise it’s quiet.

They aren’t looking at one another. Lucas is chewing on his thumbnail, keeping his gaze trained out the window. Riley is making herself as small as possible after the evening she’s had, hugging herself and slouched low in the passenger seat.

After a long moment, Lucas lets out a sigh.

> **Lucas: **What the hell were you thinking?

Oop. Wrong thing to say. Riley looks at him, staring in disbelief.

> **Riley: **What was I thinking?_ [ a beat, louder ]_ What was _I _thinking? You’ve got to be kidding me!

Valid reaction. Lucas cringes as Riley lays into him, straightening up and reminding him of all the stupid choices _he’s_ been making in the last few months. The terrible attitude. The stealing. The shutting down and shutting out of people who actually care about him, who have done nothing but try and help him and he’s given back bullshit.

> **Riley: **So you have the nerve to ask _me_ what I was thinking? No. Sorry. I know this was dumb, and I know I shouldn’t have done it, and I had to pay for it. But I am not going to take a lecture from _you_!
> 
> _[ There’s a long silence. Riley huffs, slouching back against the seat and crossing her arms tighter across her chest. ]_
> 
> **Lucas:** … you’re right.
> 
> **Riley: **And I think -- _[ realizing what he said ]_ What?
> 
> **Lucas, defeated:** You’re right. I’m stupid. I’ve been… I’ve been fucking up non-stop basically since summer. _[ a beat ] _Most of my life, if we’re being honest, but… whatever. That’s not the point.

Lucas goes on to repeat that she’s right, and he knows he’s fucked everything up. Now all there’s left to do is deal with it, regardless of how much he wishes he could keep running from it. Riley examines him for a long moment.

> **Riley: **Well, if tonight demonstrated anything, I think it’s safe to say that running sort of creates more problems than it fixes.

Hard lesson to learn, but it seems they’ve both made it there eventually. They absorb the sentiment for a moment before Lucas speaks again, asking what he actually cares about. He looks at her, speaking more gently.

> **Lucas: **Are you okay?
> 
> **Riley, exhaling: **_[ after a long silence ] _No. I’m not.
> 
> _[ Lucas frowns. It looks like he wants to do something, but clearly has no idea what or how anything he might say or do could be remotely helpful. ]_
> 
> **Riley: **But I will be._ [ with a scoff ]_ Someone has to be.

Sad, but true. And it’s the mentality she will survive by, so she’s not letting it go quite yet. Lucas nods, shifting his gaze back out the dashboard window.

This gives her the chance to look at him again. She takes him in, finding the words she wants to say.

> **Riley:** Thank you for coming. When I called. You didn’t have to --
> 
> **Lucas, without hesitation: **Of course I did.

He shifts his intense expression back to her, immediately softening when they lock eyes. It’s the first time they’ve really looked at one another all night -- it’s the first time they’ve really looked at one another in what feels like too long --and as soon as they do it’s difficult to look away. A million and one feelings floating between them, left unspoken.

Lucas manages to look away. He focuses on the car, remembering everything waiting for him back at the precinct. He murmurs about getting Riley home and turns on the engine, reaching for the gear shift.

Riley meets him there, touching his hand and keeping him from putting the car in drive. Lucas freezes and glances down at their hands, then at her, uncertain.

She doesn’t say anything. She doesn’t even look at him, closing her eyes and taking a deep breath. Keeping her hand on top of his, finding warmth and comfort in it even in the midst of so much chaos and darkness.

Lucas lets his gaze drift back to their hands. He hesitates… then flips his hand over and links their fingers together. Holding her securely, confirming the notion that she’s not alone.

The two of them sit there in silence a while longer, fingers intertwined and thoughts left unsaid.

* * *

**INT. BAR - NIGHT**

A refreshing change of pace, the rustic-style bar is bustling and lively with adults enjoying their Friday evening. Harper and Shawn are two of those responsible adults, clinking their shot glasses together before downing another at their high table. Shawn nearly chokes on his and Harper cracks up, signaling that both of them might already be a bit tipsy.

> **Shawn: **You can hold your liquor, Burgess._ [ coughing ] _I’ll give ya that.
> 
> **Harper: **_[ with a shrug ]_ I went to Triple A.
> 
> **Shawn: **Touche.

Harper smirks, picking at their shared nacho platter. There’s a beat of silence between them, then Shawn opts to speak.

> **Shawn:** You’re right about a lot of things, I’ll give you that too. Mostly about me.
> 
> **Harper, cringing: **Well, I don’t know if --
> 
> **Shawn: **No, no, don’t diminish yourself on my account. Stuff you said to me… _[ taking a sip of his beer ] _Spot on, basically. Except the neckbeard comment. I will argue that.

Harper lets out a laugh, somewhere between amused and nervous. Shawn grows more serious, waiting for her to make eye contact with him.

> **Shawn: **Truth is, I don’t know what the hell I’m doing. Never have. I got this job because my brother did me a favor, chance to get my life back on track, and I figured okay, sweet. I’ll get upright, find a better alternative, and blow this joint.
> 
> **Harper: **But…
> 
> **Shawn: **But those kids, man. They’re devious. They get in your head, and it’s like, suddenly you care about them. Suddenly you care more about their well-being than your own, and you can’t just walk away from that. _[ a beat ] _So I’m still here, but that doesn’t mean I know jackshit. Certainly not anymore than you do, even though I sure felt the need to make it seem like I did._ [ a beat, sincerely ]_ And I’m sorry about that. You got thrown in the deep end, and I didn’t throw you a life preserver. That’s on me. And I’m even more sorry it took something like… all this to snap me out of it.

Harper absorbs this, trying to determine whether or not it’s genuine. Then she nods, taking a sip of her own drink.

> **Shawn:** But I’ll tell you this, something else you should know about me. When I turn over a leaf, I turn it over. I’m telling you I’m on your side now, and you better believe it. _[ raising his bottle in cheers ]_ We’re in the underworld, Burgess, but we’ll navigate together. Sound cool?

There’s a moment of contemplation. Then Harper manages a smile, clinking her glass against his. As their drinks meet --

**EXT. NYPD PRECINCT - NIGHT**

Asher’s car door slams, Lucas walking sheepishly from the parking lot to where Asher is waiting for him on the curb. He’s got his hands stuffed in his pockets, glaring at Lucas and shuffling restlessly from foot to foot. There are clearly things both of them want to say, but it’s gotten harder to speak now that they’re in front of one another again.

> **Lucas:** Where’s Dylan?
> 
> **Asher, shortly: **His dad came to pick him up.

Brisk conversation. Lucas has made it to join him on the curb. He tentatively holds out his keys -- Asher snatches them from him, stepping off the curb without comment. Then he thinks better of it, whipping back around and approaching Lucas again. When he speaks, his voice is strained with anger, but also trembling.

> **Asher, fiercely: **The next time you want to ruin your life, you can leave Dylan out of it!

Lucas attempts to cover for himself, to offer some sort of explanation that makes all of this better, but he can’t. There’s nothing he can say, and there’s no way to make this better. Asher clenches his teeth, eyes glossing over as he shakes his head at everything Lucas starts to say.

> **Asher:** Look, you can do whatever you want, Lucas. You were right the whole time -- it doesn’t matter. Not to you.
> 
> **Lucas: **That’s not true.
> 
> **Asher: **You can do what you want, but I can’t do it anymore. I can’t. I’m done.

Asher turns to go, starting to head into the parking lot. Lucas steps down off the curb after him.

> **Lucas, panicked:** Asher --
> 
> **Asher: **_Don’t_!

Both of them freeze. Lucas pauses and then steps back, respecting his wishes. Asher hesitates for one last second, almost turning around… and then he marches towards his car.

Lucas watches him go, looking more regretful than we’ve ever seen him. That is, until he turns back towards the precinct and sees Jack impatiently waiting for him by the front counter, looking absolutely livid.

**INT. ASHER’S CAR - NIGHT**

* * *

**Song Cue ♫ ♪ “Younger” as performed by Ruel || Performed by Asher Garcia**

The instrumental starts just as Asher shuts the car door, taking a moment to absorb what the hell just happened. He lets out a sigh and falls back against the driver’s seat, pressing his palms to his eyes and trying to keep from crying.

**EXT. NEW YORK STREETS - FLASHBACK - NIGHT**

Asher’s performance takes on a slightly different structure than the rest, still split between the real world as he drives home and the AAA stage, but also this blast from the past. It’s essentially a fabrication of the origins of Lucas and Asher’s friendship, the two of them sneaking out late at night in freshman year to go wander around and talk. From the way they both grin and crack up as they go, despite being cast in shadow, it’s a stronger advocate for their relationship than anything we’ve seen as of late.

The things that Asher is so deeply holding onto, wishing things were that simple again.

**INT. AAA - AUDITORIUM - NIGHT**

But as mentioned, he takes the stage too, and the emotion of the rendition makes it near masterful. The performers in the A class might be chilled to know there’s some serious talent hidden in the depths of the techie crew, and Asher is perhaps the most prominent example.

**INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT**

Asher makes it back to his bedroom as the song hits the bridge, clearly exhausted. He slips off his shoes and shrugs off his jacket, going to organize his things off his desk but getting caught on looking at his bulletin board again.

Carefully, he pulls another photo from the second layer of pinned items -- a picture of him and Lucas from freshman year. It’s difficult to look at, painful to acknowledge how much he feels like has changed. As he sings the lyrics _“but we’re out of time,”_ he folds the picture in his fingers, like he’s crumpling it for good.

**EXT. NEW YORK STREETS - FLASHBACK - NIGHT**

The memory of Lucas and Asher have made it to Central Park, on the Gapstow bridge. Both of them are looking out over the edge, Lucas no longer looking at Asher.

Asher takes a moment to look at him -- really examine him, trying to figure him out. Wondering if the time they’re spending together is worth it, or if he’s wasting his energy on someone who will never return the favor.

Only this time, he doesn’t just stand there until Lucas is ready to move. As the song builds to the final chorus, memory Asher turns and hesitates one last moment… before walking away. Heading in the opposite direction, leaving Lucas behind him.

**INT. AAA - AUDITORIUM - NIGHT**

Which launches him right into the last chorus, delivering the powerful vocals with resounding emotional force. It’s obvious how difficult this is, how much it hurts, how badly he wishes this wasn’t how things were.

_So I can't call you my brother, the way that we used to  
When we were younger, younger..._

Asher finishes out the performance with a flourish, nearly stumbling as he backs out of the spotlight. He’s tear-stained, flushed, running a hand through his hair and honestly disoriented as he tries to figure out what he’s supposed to do next.

* * *

Then he exits the stage, leaving it empty and cold.

**INT. BLUE’S APARTMENT - NIGHT**

Isadora is in the living room, set up on the couch to crash for a few days. Blue comes in ready for bed, asking if there’s anything else he can get for her before he calls it a night. She assures him that it’s all good, and makes a point of thanking him for letting her stay. He tells her any time.

But it’s clear Isadora will not be finding rest any time soon. She scrolls through her phone, hesitating on the brink of a decision. Then she sits up, hitting call on her phone.

After a moment, VALERIE DE LA CRUZ picks up on the other end. She asks what’s up, and there’s a second where Isadora pauses. Then she starts to tell her everything, starting with Farkle and spiraling down into everything that’s happened since.

Actually opting to let her mother in, in spite of how unfamiliar the practice feels.

**EXT. NYPD PRECINCT - NIGHT**

Jack and Lucas exit the precinct, the former leading the charge and digging his keys from his pocket. Lucas lags behind, not wanting to have to go home but also not sure he wants to face Jack’s disappointment. It’s harsher than usual because it’s quiet. He’s not reprimanding him, he’s not yelling. It’s just… nothing.

> **Lucas: **Aren’t you going to say anything?
> 
> **Jack:** I don’t think you want to hear what I want to say to you right now.

Lucas stops in the middle of the parking lot, not following him anymore. Jack realizes he’s no longer behind him, spinning and finding him waiting. Looking at him, expression blank, not defensive or waspish or bitter. Just waiting.

Jack sighs, holding his arms out.

> **Jack: **Okay, you want to hear it? I don’t want to say anything because I don’t think it’s worth the effort.
> 
> **Lucas, quietly: **… not worth the effort.
> 
> **Jack:** Yes. Because there’s nothing I could say that I haven’t already said to you before. Don’t do this, don’t do that, think. Think. Think! But you never do. You never listen, and we always end up back in this spot, starting over again.
> 
> **Lucas: **… I didn’t mean for...
> 
> **Jack: **_[ growing frustrated ] _I can’t keep doing it, Lucas! I can’t keep sticking my neck out for you and trying to help only for you to take advantage of it at every turn. You can’t help somebody who doesn’t want to be helped. So I’m not wasting my breath anymore. _[ a beat ] _Now get in the car so I can take you home.

Jack doesn’t wait for him to respond. He walks over to his car and unlocks it, keeping true to his word and not wasting anymore energy than necessary.

Lucas stands there for a moment, absorbing the full consequences of his actions. It’s like it’s all collapsing on him at once, domino after domino falling over until there’s nothing left. He’s caught in the red glow of Jack’s tail lights, a tear spilling over and sliding down his cheek.

He wipes at it hastily, sniffling and then shuffling his way over to the car. He climbs into the passenger seat without a word.

**INT. HOSPITAL - LOBBY - NIGHT**

Maya is still dressed in her graffiti garb, removing her knit cap and twisting it in her hands. She seems a bit lost as she tries to figure out where she’s going, the nurse at the front desk asking if there’s something she can help her with. She assures her she’s fine, and when she informs her that visiting hours are done for the evening, she explains she’s just here to pick up her sister from visiting their father.

She makes up a room number and sends the nurse on a wild goose chase, waiting until she’s out of sight to head down the opposite hallway and exploring for herself.

**INT. HOSPITAL - HALLWAY - NIGHT**

Maya makes her way along, reading spare paperwork and files as she goes to try and figure out where exactly she’s headed. Finally, she arrives at her destination, frozen in the doorway and unable to progress any further. The temporary nameplate on the door confirms she’s made it.

_F. Minkus._

Maya peers around the door.

**INT. HOSPITAL - FARKLE’S ROOM - NIGHT**

And there is FARKLE MINKUS. Fatigued and hooked up to a dozen little wires but alive, seemingly snoozing in his hospital bed. A laptop and briefcase on the window seat indicates that he’s already got a visitor, but no one is around.

Maya stares at him for a long moment, until the sight of it becomes too much. She starts to turn away, making her escape --

> **Farkle: **Maya?

She winces, not sure she actually heard him. She glances back over her shoulder, Farkle half-awake and blinking at her from across the room. He looks confused, but not upset to see her there. Maya deliberates before easing her way inside, taking the seat next to his bed.

> **Maya:** … hi.
> 
> **Farkle: **What are you doing here? _[ dazed ] _Visiting hours are… except for family…
> 
> **Maya:** I just wanted -- I had to see you.

That said, it’s not necessarily for good reasons. Maya explains what Eric said, about all the emotions she might be feeling. And he’s right -- she is feeling all of that. She’s furious at him, furious that he would do this without even thinking about the rest of them. She’s mortified by the prospect of him not being there -- never being there again -- despite her statements that she’s better off without him. And because of that she’s confused, not sure whether she wants to forgive him or not but now all the things she was upset with him for originally feel trivial or stupid, which isn’t fair because he still did those things. And those things shouldn’t just get wiped clean because he tried to escape them permanently.

More than anything, though, she admits that she can’t believe he was going to leave without her. That he was just going to leave her behind in the most irreversible way possible, and she can’t even begin to wrap her head around that. She doesn’t want to exist in that world.

> **Maya:** Everyone kept saying I needed to talk to someone. I had to talk to someone about you, about what happened. They kept saying that, but the only person who… the only person I could even fathom wanting to talk to was you.

That much, Farkle can understand. He’s clearly out of it, and it’s a wonder how much of this he’ll remember later, but it’s helping Maya to say it.

> **Maya:** I just wanted to talk to you, but I don’t know if that’s what I wanted to say. I’m not sure what else to say. I’m still trying to… figure it out. I just hope that you -- I hope you realize --

She can’t articulate it. Farkle squints at her, trying to understand.

> **Maya:** I don’t want this bullshit world if you’re not in it, Farkle. You got that? I’m not -- we’re not all dandy but -- it’s bullshit if it’s not with you.

Maya doesn’t offer the chance for clarifying questions. She rises from the seat and makes a hasty exit, disappearing before anyone can catch her or Farkle can ask something she doesn’t yet know the answer to.

**INT. HOSPITAL - HALLWAY - NIGHT**

* * *

**Song Cue ♫ ♪ “Nothing Stops Another Day” as performed by _Ghost_ Original Cast || Performed by Maya Hart**

As Maya winds her way through the halls of the hospital, she launches into what is essentially the thesis of the episode -- and in some ways the season. Darkness is going to eclipse the light sometimes, and there will always be bad in the world. But the world keeps going regardless, and she can either succumb to it and disappear, or keep marching onward in spite of it.

_Because the world keeps turning, and I guess it always will  
I can choose to turn around or I can choose to just stand still  
Either way, nothing stops another day..._

**INT. AAA - AUDITORIUM - NIGHT**

Of course, Maya delivers an equally stirring rendition while on the fictional AAA stage, completing the trend for performances of the evening. And, tellingly, this lyric rings particularly true as we come out of the frost of February and launch into the rest of our season:

_Winter can’t hold back the spring, no matter how dark it may seem…_

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Maya climbs back through the bay window, Riley already seemingly in bed and asleep after the crazy night she’s had. As Maya makes her way to her bed, she stops when she sees the item that has been left on her comforter.

The photo from Farkle’s locker of the two of them. Obviously left there by Riley, figuring she might want it all things considered.

As Maya rounds out the performance, she steps up to her future moodboard and adheres the photo to it. Surrounded by everything else, but taking a definitive space.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

The A class has assembled again on Monday, having survived another tough week. But the ripple effect of everything that has happened peeks through in subtle ways, like Maya nowhere near as glamorous and put together as usual and letting that vulnerability show. Isadora is next to her, equally as tired but still marching on. Asher is sitting closer to Dylan, their hands linked in his lap. Zay and Charlie can’t look at each other. Lucas is nowhere to be found.

Harper takes the front of the classroom, Shawn settling back against the teacher desk in the back and crossing his arms. Harper starts by apologizing for her outburst late last week, then explains that the reason she’s sorry is not because she had one, but because she wasn’t being candid with all of them. The truth of the matter is, this is just as difficult for her as it is for them, and she’s also feeling conflicted, overwhelmed, reckless, unsure.

In the midst of her speech, she grows uncertain. She glances back towards Shawn, who gives her an encouraging nod. Having her back, as he said he would.

She clears her throat, getting back on track. Some of her former confidence back intact, she explains that it doesn’t do anybody any good for them to struggle through this alone, so they’re going to get through it together. The class seems into this, offering weak smiles and nods. Dave gives an endorsing thumbs up.

* * *

**Song Cue ♫ ♪ “Smile” as performed by Glee Cast || Performed by AAA Juniors**

Harper gestures Riley up to stand with her, allowing her to take the reins and explain her idea of how to honor Farkle. As the soft guitar strums float in…

**INT. AAA - AUDITORIUM - DAY**

The junior A class keeps it painstakingly simple for this performance, in their regular clothes and seated along the edge of the stage. Dylan and Dave play their guitars, Riley taking the gentle opening verse and then allowing the vocals to pass amongst their classmates. The divas abstain from solos, instead giving Yindra, Clarissa, Darby, and Yogi the chance to shine.

**INT. AAA - HALLWAY - DAY**

While this unfolds, Riley leads her classmates in the decoration of Farkle’s locker. They’re adorning it with photographs, letters, flowers and warm wishes and small things for him to find when he finally returns to school. Each of them are taking the matter seriously, but also finding joy in the task. Lots of exchanged timid smiles, a couple of nervous laughs.

The reason Lucas is not in class is because he’s playing guard dog, set up on the floor next to Farkle’s locker and keeping people from stepping on the display or being careless around it. Putting his protectiveness and delinquency to good use. No one tries to stop him.

**INT. AAA - AUDITORIUM - DAY**

A fair majority of the A class have shed tears in the process of the performance, but somehow it’s a good thing. Relieving, a sense of catharsis, all of them sharing in the emotion together rather than attempting to fumble with it on their own. Riley reaches out and takes Maya’s hand -- Isadora squeezes Dylan’s shoulder.

It’s nice to hear their voices in harmony again, singing about looking towards the future with optimism rather than dread. It’s not going to be easy, and there’s much to rebuild, but Maya’s earlier sentiment is right -- winter can’t hold back the spring, no matter how dark it may seem.

**INT. HOSPITAL - FARKLE’S ROOM - DAY**

Their assembled voices float over our last shot of Farkle, asleep in his hospital bed but in recovery. Completely unaware of the impact he’s had, how grateful people are that he’s still there. STUART MINKUS is there with him, having fallen asleep in the chair by his bed and holding his son’s hand.

You’ll find that life is still worthwhile, if you just smile…

** _END OF EPISODE._ **

* * *

**IF ANY** of the content in this episode has been triggering, please reach out and talk to somebody you trust and who can help you. The following links are resources including hotlines, prevention organizations, and international numbers.

**Suicide Prevention: ** [https://suicidepreventionlifeline.org/](https://t.umblr.com/redirect?z=https%3A%2F%2Fsuicidepreventionlifeline.org%2F&t=NzI3ZmRlODUzYjZmMTkxMjk0MGFiYTFjZDE3YjBhOGY3NWNkNTI2MCxPaDY2QXFTeQ%3D%3D&b=t%3AO0DH3zCRVXgCKqH3oOhY7g&p=https%3A%2F%2Fambitionsource.tumblr.com%2Fpost%2F189515549793%2Fambition-season-2-contingency-plan-207&m=0)

**List of Suicide Hotlines:**   
[https://ibpf.org/resource/list-international-suicide-hotlines](https://t.umblr.com/redirect?z=https%3A%2F%2Fibpf.org%2Fresource%2Flist-international-suicide-hotlines&t=MTc0MjE5ZTRiZmUzMjhiYzg0ODFlYjYzZTRlNWE4NWQ2OTAzMzk5YSxPaDY2QXFTeQ%3D%3D&b=t%3AO0DH3zCRVXgCKqH3oOhY7g&p=https%3A%2F%2Fambitionsource.tumblr.com%2Fpost%2F189515549793%2Fambition-season-2-contingency-plan-207&m=0)   
[https://suicidestop.com/call_a_hotline.html](https://t.umblr.com/redirect?z=https%3A%2F%2Fsuicidestop.com%2Fcall_a_hotline.html&t=MjJjYzllMWQyYTJlZTljMzc2M2U5MTkwYTg2YTg0ODA3OWIyYmE4YyxPaDY2QXFTeQ%3D%3D&b=t%3AO0DH3zCRVXgCKqH3oOhY7g&p=https%3A%2F%2Fambitionsource.tumblr.com%2Fpost%2F189515549793%2Fambition-season-2-contingency-plan-207&m=0)


	13. World Uncertain [ 2.09 ]

**Summary for the Chapter:**

> SPRING CLEANING – The juniors are forced to confront the ramifications of their actions while navigating shaky ground. Valerie comes to New York to spend the break with Isadora, although she may be carrying deeper intentions. Winter melting into spring allows for the chance to begin again.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )
> 
> **CHAPTER CONTENT WARNING:** mentions of suicide. Take care of yourselves and read with discretion.

**EXT. NEW YORK STREETS - DAY**

The bustle and commute of a brand new work day in Manhattan echoes lightly from all around as a MALE OFFICER emerges from his cruiser. He strides a few feet onto the sidewalk, joining another FEMALE OFFICER standing on the curb.

She’s looking towards the side of the building on the corner, the male officer matching her stance. They don’t look stressed but rather confused – and in a glimmer here and there, perhaps a bit impressed. Either way, it’s evident they aren’t sure what to make of their latest call.

Upon the brick wall of the establishment across from them, Maya’s emotionally spurred graffiti finally sees the light of day. It’s beautiful and jarring, bright and colorful and eye-catching, yet obviously attempting to convey something heavy. Something larger than life, overwhelming, difficult to capture in words as it is on the canvas of a building.

The word**_ ENOUGH_**. Embellished and bold and impossible to miss.

The officers stand in front of it, small against its looming presence. As the school bell rings…

**INT. AAA - CORY’S CLASSROOM - DAY**

Students are transitioning for their next period, CORY MATTHEWS shouting last minute reminders at them as they shuffle out. He specifically mentions the impending spring holiday and urges students not to forget about their reading assignments.

Once the chaos has died down before the next wave of students files in, ISADORA DE LA CRUZ approaches Cory’s desk. He questions what he can do for her.

> **Isadora: **You said that you were hoping someone could… Farkle.
> 
> **Cory:** … yes?
> 
> **Isadora:** _[ clearing her throat ] _His homework. You said you were wondering if someone could drop his assignments by his place during break. Since he’s coming back next week. Don’t want him falling behind and all that. So I figured I might as well.
> 
> **Cory:** You? You want to –

It’s obvious Isadora is the last person Cory was expecting to volunteer for such a job. But Isadora merely raises an eyebrow at him, so he quickly covers his surprise.

> **Cory:** I just didn’t think you would be the one to – but, sure. That would be wonderful, thank you, Isadora.

He shifts into gathering the proper materials, offhandedly relaying how much of their new book she should instruct him to read by the time they return. Isadora isn’t listening much, caught up in her own head. Perhaps Cory was a bit right to question her… why _is_ she so intent on volunteering to help Farkle…

**INT. MINKUS HOME - DAY**

Who, speaking of, is making his grand return home. After about a month away at a rehabilitation facility, the doormen and wait staff warmly welcome him back as JENNIFER MINKUS leads the way back up to their penthouse accommodations. Handfuls of “welcome back, young Mister Minkus” are thrown in their direction, accompanied by relieved expressions or uncertain smiles as they get a good look at him.

And the reason is clear enough why. As they step back into the familiar entryway and Jennifer immediately starts fussing about getting him settled back in, FARKLE MINKUS takes his time. He drops his bag on the floor, taking a deep breath. And as we pan up from the floor to his face, one change is more prominent than any other.

His hair has been buzzed off. No more obsessive coiff. No more fastidious appearance. No more flyaway mess from pulling on it and running his hands through it too often to repair.

All that’s left is what’s underneath. Clean slate. Fresh start.

Tis the season of rebirth, after all.

** _Cue title sequence._ **

**INT. AAA - HALLWAY - DAY**

LUCAS JAMES FRIAR opens his locker, explaining the consequences of his little joy ride last episode after he and Dylan went to court to be sentenced. Whereas Dylan got off on a warning and a minor blemish on his record since he is a minor and merely “an accessory,” Lucas was assigned 70 glorious hours of court-ordered community service to complete.

Still, he’s well aware it could’ve been far worse, especially since he’s already 18 and not as protected by juvenile limitations. It helped that the owner of the car didn’t press charges as nothing was damaged, but he also has the sense that Jack did a lot of negotiating on his behalf.

When she responds, it’s revealed that he is sharing these developments with RILEY MATTHEWS. She’s leaning against the row of lockers next to his, listening intently. She claims that he could easily knock out those service hours during spring break.

> **Riley:** Seventy hours, ten days of break. That’s seven hours a day, which you can easily manage._ [ a beat ]_ In fact, I’ll tag along with you.
> 
> **Lucas: **You do not need to waste your spring break on me.
> 
> **Riley: **It’s not waste, believe me. I could use the excuse to get out of the house, especially with my mom in and out helping move my brother’s things. It’s…

She doesn’t finish the sentence, shaking her head instead. Lucas doesn’t push her, getting the gist anyway. She directs her focus back to him.

> **Riley:** And you know, it’s the least I could do. That night with the –
> 
> **Lucas, pointedly: **Don’t let that be your reason. You don’t owe me anything.

It’s evident Riley disagrees. They hold each other’s gaze. Riley decides not to argue it, but is still determined to join him regardless. She says as such, Lucas shrugging and focusing back on gathering his things.

> **Lucas: **Well, I can’t stop you from blowing your break if that’s what you’re intent on doing.
> 
> **Riley: **Sure can’t. _[ with a grin ]_ Besides, it’ll be fun. I like charity work.
> 
> **Lucas, deadpan: **Oh, I know.

Har har. It takes Riley a moment to get his implications, scowling when she realizes. He can’t help but smile, melting away Riley’s frown in spite of herself. Their smiles linger as Lucas shuts his locker, coinciding with…

**INT. AAA - LIBRARY - DAY**

CHARLIE GARDNER hitting the spacebar on one of the school computers, deeply concentrated as he scours through the webpages he has open. From an offhand glance, it seems to be a bunch of program websites, an application form or two sprinkled in. Although he’s working fast, he seems pretty intent.

And, well, a bit frantic. A glimmer of that frazzled nature is back in his eyes, making the web search seem far more important than a simple research project.

He jumps when someone calls his name, glancing up only for a moment before swiftly closing all the tabs. CLARISSA CRUZ and HALEY FISHER approach, Haley playfully nudging him and looking over his shoulder to see what he’s working on. He says he was just finishing up, not offering any further explanation.

**INT. AAA - HALLWAY - DAY**

As they’re exiting the library, Clarissa asks Charlie if he wants to come to Chubbie’s. They’re doing a sort of kick off for spring break.

> **Haley:** Drowning ourselves in high caloric content, that’s what we’re doing.
> 
> **Clarissa: **As is our right after the hell this semester has been so far.

Darn right, ladies! Charlie starts to respond, but his interest shifts to hesitation as he questions who else is going. They mention Yindra and Nigel, definitely Yogi, maybe Darbs? Although there are some unsure parties, Zay is not mentioned either way.

This seems to be what Charlie was looking for. With no mention of his boyfriend he happily agrees, telling them he’ll meet them there. Once they flutter off, however, his smile falters somewhat. He’s clearly not sure how he feels about anything at this point.

He starts down the hall alone, heading towards a week of freedom from it all.

**INT. AAA - BLACK BOX THEATER - DAY**

ZAY BABINEAUX, meanwhile, is meeting one-on-one with HARPER BURGESS. She’s got a stack of pamphlets and flyers to pass onto him, all opportunities for enrichment programs or auditions he can go out for. She also places a folded paper on top, explaining that its a list of contacts she has in the industry that he could consider reaching out to for guidance.

> **Harper: **You know how it is – it’s all about who you know.
> 
> **Zay: **Yeah. These are really great, thank you._ [ a beat ] _Are you sure it’s okay for you to do this? This does seem a little bit like what some might call _favoritism_.
> 
> **Harper: **Don’t see how it could be favoritism when you’re the only person who has even bothered to ask.

Fair point. Harper reminds Zay that he is more than capable of stepping into the spotlight and making real strides. Going out for these opportunities, as he’s expressed as his intent, is just the first step. He just needs to maintain his laser focus.

> **Zay: **Trust me, I expect I will have far less distraction than usual this break.

**INT. AAA - HALLWAY - DAY**

Which is exactly what he reiterates to Riley, stuffing the pamphlets into his backpack as they make their way out for the break. He states that if he and Charlie aren’t going to be spending as much time together, then he might as well fill all that time with things that are actually important. Riley questions whether he and Charlie have even like… really discussed what happened – because she is vague on the details and isn’t quite sure what is up between them – but Zay waves her off.

> **Riley:** So everything is okay.
> 
> **Zay:** Well… not exactly.
> 
> **Riley:** So you’re breaking up.
> 
> **Zay:** No. Not exactly.
> 
> **Riley: **And when was the last time you talked about this? _[ nervously ]_ When was the last time you talked at all?
> 
> **Zay, cutting her off:** Riley, relax. You’ve already got one complicated relationship dominating your life, don’t let Charlie and me become the same.

Valid, but also a convenient excuse to avoid the topic. Riley relents, instead switching gears and suggesting that if Zay will have so much more time open on his social calendar this week, perhaps he would be able to squeeze in a visit to their absent classmate?

He doesn’t seem to enthused by the prospect, but it’s clear that this is a warpath Riley has been marching on for quite some time now. He reluctantly says he’ll consider it.

**INT. AAA - ERIC’S OFFICE - DAY**

Isadora pokes her head in to chat with ERIC MATTHEWS, wishing him a restful break. He returns the sentiment, assuring her that he is heading out of the office shortly after them and will give himself a well-earned respite as well. She also questions how he’s doing this week emotionally, which seems to amuse him.

> **Eric:** You realize this is the fourth time you’ve asked me that this week?
> 
> **Isadora:** _[ unfazed, patiently waiting for a response ]_
> 
> **Eric, with a smile:** … yes, I’m doing better. Thank you.

Placated for now, Isadora switches gears and asks if there’s anything Eric needs to give to Farkle this break. She’ll be dropping by to take him homework, so she can play messenger for him too if necessary. Eric remembers some flyers he meant to give for him in his preparation for returning to school. As he hands them over, he encourages Isadora to also take this holiday to take a breather. He thinks they all could use it.

Oh, and at the top of that list of people who really need to relax…

**INT. AAA - PROP LOFT - DAY**

ASHER GARCIA is meticulously arranging items on the shelves, doing his last touch-up organization of the loft before they leave for a week. He’s talking anxiously as he works, rambling about the state of things and how he’s supposed to get everything back in perfect shape. He’s speaking about the order of the prop loft, but that’s not _really_ what he’s speaking about.

And that’s more than clear to DYLAN ORLANDO. He’s seated on the floor in front of the shelves, humoring Asher’s poorly veiled way of discussing how much of a mess everything is in socially removed terms and nodding along. He’s scribbling on a piece of notebook paper, delicately folding it and sliding it into the same cubby hole where Riley found his note in 206. Asher doesn’t notice a thing.

Dylan is smiling as he climbs back to his feet, tackling the discussion head on and explaining the situation from his perspective. He explains to Asher that Lucas was dead serious about their sentencing and took full responsibility for it. He even made a major point about taking all the blame off of Dylan, claiming that it was all him and his friend was only trying to make sure he didn’t get into anymore trouble.

That’s noble, yes, but Asher can’t believe Dylan is so calm about this. How can he not be at _all_ upset? He got _arrested_.

> **Dylan:** The cause of my impenetrable sense of peace is threefold. _[ holding up three fingers ] _One, I am a human being capable of making my own decisions. You said so yourself. I knew what I was doing when I agreed to go with Lucas, so it’s not like he’s some incorrigible demon _corrupting_ me and my adorable veneer of innocence and naiveté.
> 
> **Asher: **You’ve been looking at the word of the day calendar, I see.
> 
> **Dylan:** Two. _[ dropping a finger ]_ It really just doesn’t feel like that big a deal. I mean, yes, it’s a big deal that we got arrested and I would not like to repeat that ever again – not to mention it would be a far bigger deal if I were any other race or gender, because of all the systemic imbalances in the justice system that make it way harder for small crimes to remain small and not totally derail your life when you’re not white and male, which now that I’m thinking about it is really kind of a huge problem that we’re not talking about enough and now I’m starting to get lightheaded – is this what it feels like to be you all the time?
> 
> **Asher:** Dyl, lighthouse. And yes.
> 
> **Dylan: **Right. Larger sociocultural issues aside, I don’t think it’s worth getting hung up on. It happened, we dealt with it, and now we move on. Things are going to be different, yeah, but things change every day. I think it’s way more important to decide what happens next rather than get stuck on what already did. And, three –

Dylan is down to one finger, which he uses to tap at Asher’s cheek affectionately.

> **Dylan: **All I know is that when all was said and done, Lucas stood up for me. I know he’s going through a lot right now and hasn’t been acting much like himself, but you and I both know that he always looks out for his friends. He never lets anyone else take the fall. That’s still true, and I still think that the person we’ve had as our best friend for three years, faults and all, is who he really is. I believe that, so I’m not going to drop him.

Asher absorbs this, obviously torn. He crosses his arms. Dylan continues, gently taking Asher’s shoulders and getting him to meet his eyes.

> **Dylan: **However… if you decide that you don’t want to deal with it anymore, then that’s okay too. He messed up, and you have every right to decide that you’ve had enough and not forgive him. Or even if you do forgive him, you don’t have to let him back into your life. It’s all up to you, and it’s something that you have to come to on your own I think. Even though –
> 
> **Asher, under his breath:** I hate decisions.
> 
> **Dylan, without missing a beat: **You hate decisions. I know. But you’ll have plenty of time to think about it while you’re with your fam in Florida, and we know you’re an expert at thinking things to death. _[ off Asher’s eye roll ] _I’m just saying, whatever you choose to do will be the best one for you. I believe that, too. And I’ll support it no matter what… although, I’m pretty sure the best choice will be the right one. I’m not worried.
> 
> **Asher: **You never are. _[ off Dylan’s beam ]_ So… what _is_ the right choice?

As if he’ll give it up that easily. Dylan makes a face, shifting his gaze to the wall behind them as he pretends to be lost in thought. Then he locks eyes with him again, lightly tapping the side of his nose in a knowing gesture.

Dylan lightly taps Asher on the nose as well, grinning and spinning to depart without another word. Asher blinks, obviously still not thrilled with the things he has to contemplate but unable to hold back a smile in his boyfriend’s presence. He makes one last adjustment to the props before following him towards the stepladder.

**INT. AAA - JACK’S OFFICE - DAY**

Lucas arrives in the doorway, no longer sauntering around like he owns the place. Instead he lightly knocks, an awkward gesture considering how unnatural it is.

JACK HUNTER raises his gaze from his work, emotion flitting across his features at the sight of Lucas for a second before he resets to a pleasant, neutral state. Pleasant, but removed, so not really pleasant at all. Not at all like it’s supposed to be.

> **Jack:** Something I can help you with, Mister Friar?
> 
> **Lucas:** _[ thrown by the way he addressed him ]_ … um, yeah. I’m supposed to get the service paperwork from you.

Jack hums, nodding. He rises to his feet and digs through the papers on the cabinet behind his desk. Lucas remains uncertainly in the doorway, twisting his fingers subconsciously.

Jack finds the correct form, crossing the room to hand it to him. Lucas thanks him, Jack offering a polite nod as he heads back to his desk without further ado.

Lucas glances down at the paper, then at Jack settling into his desk again. It’s obvious he wants to say something, anything, but he doesn’t know what. It’s like he’s lost the right to say anything ever again. He retreats sheepishly, disappearing back into the main office.

Jack glances up from his desk, expression betraying his own disappointment. He shakes it off, focusing back on his work.

**INT. MINKUS HOME - DAY**

Farkle is settling back into the apartment, a bit stiff in it after nearly a month away. He’s set up a home base of sorts in the living room, blankets folded on the opposite end of the couch and a formidable stack of books on the coffee table. He’s dressed more comfortably than he previously allowed, light wash jeans and a hand-me-down Princeton sweatshirt a far cry from blazer glory.

Jennifer is bustling around in the kitchen behind him, relaying all of the details for their upcoming break and his adjustment back home. She mentions the specifics of when Farkle should be taking his medications for stabilizing his body in the aftermath of the attempt, and who will be home when to keep him company (and watch over him).

> **Jennifer:** Lila is on her way back from school now, and Uri will be here after school when I go to work. I’ll be staying mornings. Of course, Darla and Curtis will be checking in periodically throughout the day to see if you need anything –
> 
> **Farkle:** Hence my transition to the public display case of the living room, yes.
> 
> **Jennifer: **You know they appreciate that rather than having to intrude your privacy to enter your room.

Farkle makes a face. It’s a lot of attention, yes, but he also knows exactly why it’s necessary. Regardless of the state he’s in now, he certainly did his part to earn the surveillance.

> **Jennifer: **And Ezekiel is coming back next weekend. He’s going to try and fly home when he can.
> 
> **Farkle, sheepish:** He doesn’t have to do that.
> 
> **Jennifer: **He wants to. He wouldn’t have it any other way, and we’re lucky that we can afford it.
> 
> **Farkle: **He doesn’t – I mean, no one needs to go to all this trouble. It’s good, I mean, I’m good. I’ll be fine.

Jennifer gives him a smile, gently perching on the arm rest next to him. She takes his chin in her hand, only slightly belittling.

> **Jennifer: **It’s cute that you think I’m going to take your word for it.

Farkle scowls, shrugging out of her grasp. Mostly because he knows she’s right. Jennifer laughs, leaning over to give him a kiss on the top of the head. When she pulls back, the expression on her face grows more serious.

> **Jennifer:** I love you_. [ a beat ]_ I’m very glad you’re home.

A loaded declaration. Farkle’s indignation fades, returning the sincerity despite how out of practice he is.

> **Farkle, quietly:** Me too.

Jennifer smiles lovingly, stroking his cheek once more before jumping to her feet again. She shakes off the heaviness, brightly suggesting the ways that Farkle can enjoy the break home before he returns to school even while being under more careful watch. He’s got that hefty stack of books there, and perhaps there are more people he wants to see? He’s more than welcome to invite some friends over, provided he lets her know.

Farkle doesn’t seem convinced by this prospect.

> **Farkle, under his breath: **Would need some friends first.

Oof. After a month away, Farkle is feeling the sting of his isolation more than ever.

**INT. BLUE’S APARTMENT - DAY**

Isadora is also set up on the couch, Blue’s living room acting as her makeshift bedroom while she’s in transition between foster homes. She’s far more settled into her space than Farkle, comfortably flipping through homework when there’s a bold knock on the door.

She doesn’t seem surprised – and maybe even a bit excited – as she rises to answer the door. On the other side is VALERIE DE LA CRUZ, looking glamorous as always as she cheerfully greets her daughter.

As she steps inside, BLUE NGUYEN emerges from the hall to the bedroom. She graciously greets him with her high-wattage Hollywood smile, thanking him profusely for allowing her into his house and taking such good care of Isadora. It’s obvious he has no idea how to react to her boisterous presence, accepting the praise with as much poise as he can muster.

Then Valerie is back on Isadora again, already questioning what they should do or how they should spend the week. A delicious dinner to start, perhaps? There’s this upscale place she’s been dying to try on the upper west side – oh and Blue can come too, of course. Or perhaps a movie, if there’s one Isadora has been dying to see?

> **Valerie:** Of course, you’ll need to clear your calendar for Friday. Very important evening plans.
> 
> _[ She retrieves three tickets from her purse, handing them over with a mischievous grin and flourish. Isadora takes them, jaw dropping when she reads them. ]_
> 
> **Isadora: **Hamilton? You got _Hamilton_ tickets?
> 
> **Valerie:** It was hardly a tizzy. Just called in a favor with Lin – you know how he was practically _begging_ me to be in _In the Heights_. Well, he was more than happy to work these out for us._ [ brightly ] _There’s a third one in there too. I figured you might want to invite one of your friends – Maya, I would guess? I’m sure she would love to go, even if just for the chance to boast a little bit with your classmates next week. All in good fun, of course.

Isadora, still dazed by the tickets in her hands, claims Maya won’t be able to come. Valerie asks why not, concerned, but Isadora simply states that she’s out of town for the break. Visiting Katy. This only confuses Valerie further, considering how much has happened since her last visit.

> **Valerie:** Well, where on Earth is Katy?

**INT. HART FAMILY HOME - NIGHT**

KATY HART, dressed plainly and in the midst of helping cook dinner, jogs to answer the urgent knocking at the door. She pushes her hair out of her face, yanking open the door.

> **Katy: **Just a second! Goodness, who the hell –

There on the other side of the door is MAYA HART, weary from a long day of traveling and clutching a suitcase in her hands. She brightens when she sees her mom, effortless smile blooming across her face.

> **Maya: **Sorry. Just couldn’t wait much longer.

From the expression on her face, it’s clear that Katy was not expecting her. But it’s impossible to keep the happy grin off her face, even if mixed with incredulousness. Before she can get a word in edgewise, Maya barrels her with a hug.

Katy’s mother and father emerge from the kitchen, asking who it is and what all the fuss is about. VIVIAN “VIV” HART (60s) is demurely beautiful even with her age, although clearly the authoritative one of the pair of them. HENRY HART (60s), on the other hand, radiates that same bold and upbeat energy that his daughter and granddaughter are so proud of.

Both of them are gleeful to see Maya, rushing over to join in on the welcomes and hugs. She’s whisked into the house without another thought, not sparing a second towards how she got there or what she’s doing there in the first place…

**INT. MINKUS HOME - NIGHT**

* * *

**Song Cue ♫ ♪ “Alone” as performed by _Young Frankenstein _Original Broadway Cast || Performed by Farkle Minkus (feat. AAA Juniors)**

The dramatic orchestral burst sets the mood in an instant, a spotlight illuminating Farkle standing atop one of the grandiose staircases in the Minkus abode. From the moment he speaks, it’s clear we’re in for a truly theatrical return to form.

> **Farkle:** Oh, Maya, darling Maya, I miss you so much. Life has been absolute – _[ offhand, to DAVE WILLIAMS standing just out of frame ] _dry martini, Davis, and I mean _dry_ – _HELL_ without you. I’m so, so, _so_ –

And thus Farkle launches into the ridiculous soliloquy, sashaying around in a luxurious dress shirt ensemble and dancing with his AAA classmates (sans the other super seven), who have all taken the roles of his wait staff and are dressed in identical uniforms. Some of them really make this look work, like YINDRA AMINO, while others like NIGEL CHEY and NATE MARTINEZ seem unimpressed as to what they’re doing there or why they’re being cast as his _butlers_.

When he dances with each of them, Asher and Dylan maintain their characterization by looking pretty disturbed in having to interact with him. Still, they all play their parts well, creating an enjoyable and suave support for Farkle’s melodramatic lament. Dave tries his best to give him the perfect martini, but never quite hits the mark.

All that aside, the most important aspect of the number is how good it feels to see Farkle perform again. Not just perform, but be absolutely, wholly over-the-top and ridiculous with an endearing amount of fanfare. _This_ is the Farkle we haven’t seen in quite some time, and it’s nice to see him again as he tilts his head back to the high ceilings and belts out the final notes.

* * *

**INT. MINKUS HOME - DAY**

Even if only in a dream. Farkle is startled awake by peppy knocking at the door, having dozed off amidst his nest of blankets. On the TV, the film version of _Young Frankenstein_ is playing. He struggles to his feet, attempting to shake off the fatigue and put himself back in presentable order. He reaches up to fix his hair on instinct before remembering he barely has any now, huffing and sliding towards the door.

Riley and Lucas are waiting on the other side, Riley offering a warm smile and cheerful greeting. Lucas does neither, keeping his arms crossed and settling for a glare instead. But hey, better than a derisive comment. That’s an improvement!

Farkle steps back to allow them in, eyeing Lucas cautiously as they make their way inside. He questions what they’re doing there, which Riley scoffs at as if it’s a silly question. She explains that they wanted to come by and see how he was doing, moving further into the space and immediately going to adjust the blinds and let in more natural light.

Farkle tosses a look to Lucas. _That so? _Lucas doesn’t comment either way, turning away from him and getting a better look around.

Riley continues to quickly discuss all that’s happened in Farkle’s absence as he wanders over to join her. She mentions that someone will probably bring homework by at some point, and of course everyone is talking here and there about prom. They’ve started decorating for the senior send-off – crazy how they’ll be seniors in just a couple months, isn’t it?

> **Riley: **I’m glad that all of us will be able to jump into the final year together. _[ a beat ] _We all miss you.
> 
> **Farkle, with a snort: **Forgive me for not believing you. I’m suicidal, not delusional.

Well… remains to be seen. Riley brushes past the moment, asking how he’s doing and how his time at the hospital was. In a softer voice, she admits that there was a period where her mother considered sending her to some place similar for her depression when she was being bullied in ninth grade, so she’s always wondered. Behind her, Lucas continues to poke around the entryway and dining area with mild interest.

Farkle gives her the basic run down, expressing that while the treatment was fine and the workers were all quite nice, it’s hard to sell it as a desirable place to be when everyone present wants to die.

> **Farkle: **You know, it’s hard to give it its due credit when most of the residents would rather be dead than be there. Literally, in case that point wasn’t clear. Not to mention the feeling of near constant surveillance, which I get, I put it upon myself, but it gets to the point where I was starting to wonder if I would ever be able to even _think_ without the feeling that one of those well-intended nurses would hear my thoughts. It’s been nice to have the freedom of loneliness again, which isn’t something you’d ever think to say.
> 
> **Riley: **Well, that’s good. I guess?
> 
> **Farkle: **As good as it can be. But seriously, you think they’d save the overbearing surveillance for those who truly need it – speaking of, hey _Jackass_ –

Farkle has shifted his gaze to over Riley’s shoulder, glaring at Lucas. He jumps, spinning from where he’s examining the mantle by the dining table.

> **Farkle:** Don’t you think it’s a bit morally decrepit to _steal_ from the mentally ill?

Lucas scoffs, feigning innocence. He shrugs, crossing his arms in defense.

> **Lucas:** Ha, I… I don’t know _what_ you’re talking about.

Farkle stares, raising one unimpressed eyebrow. Riley glances over her shoulder to look at him as well, giving him a knowing but more sympathetic grimace / smile.

After a moment of their dual scrutiny, Lucas relents. He scoffs again, pulling a handful of genuine silverware as well as a couple of other trinkets from his pockets and dropping them onto the dining table.

Farkle rolls his eyes, shaking his head as he settles back onto the couch. Riley keeps her eyes on Lucas as he sheepishly comes over to join them, but her disapproval would be more convincing if it wasn’t colored with unintentional fondness. She apologizes on his behalf, expressing that he’s had some trouble with those sort of compulsions lately.

> **Farkle:** Oh, yeah, so I’ve heard. _[ to Lucas ] _Heard you stole a car.
> 
> **Lucas, flatly: **Maybe.
> 
> **Riley: **Not stole. Borrowed for temporary reckless purposes.

Farkle and Lucas continue to have a back and forth, sharing the same blunt and offhand tone.

> **Farkle: **No keys? Break-in and hotwire?
> 
> **Lucas:** What do you think?
> 
> **Farkle:** BMW? Lexus?
> 
> **Lucas: **Maserati.
> 
> **Farkle: **No kidding. But doesn’t that have that security feature they were hyping to all hell – ?
> 
> **Lucas: **Doesn’t matter if you disable it first.
> 
> **Farkle: **You can do that?
> 
> **Lucas: **If you know how.
> 
> **Farkle: **… touché. _[ looking him over, cracking a smirk ] _Well done.

Not the expected response, and a little refreshing. Lucas kind of smiles, but Riley is not thrilled with the exchange.

> **Riley:** Okay, no, do not encourage him. We are not doing this –

Riley takes Lucas by the arms, spinning him and nudging him back towards the door. She tells Farkle that she’ll be sure to call him later, and she tried to talk to their other classmates about swinging by so she’s sure he’ll have company this week. Farkle doesn’t look convinced, but the sentiment is nice enough.

As she disappears into the hall, Farkle calls after her.

> **Farkle:** Riley?

She pokes her head back around the door frame, giving him a look and raising her eyebrows. After a moment, Farkle smiles lightly.

> **Farkle, softly:** Thank you.

This melts whatever chill he put between them from his brazenness with Lucas right quick. She returns the smile, blowing him a light kiss and pulling the door closed behind her.

Farkle releases a sigh, settling back into the couch and the solitude.

**INT. BLUE’S APARTMENT - DAY**

Isadora and Valerie are hanging out in the living room, Valerie pacing with restless energy. They’re debating what to do that afternoon, Isadora already showing a sign or two of feeling overwhelmed. She’s happy to have her mother there, but constant interaction can be a lot.

Their conversation is interrupted by a playful knock on the door, Isadora frowning. Valerie asks if she’s expecting anyone else, and Isadora calls back the same question to Blue as she goes to open the door.

On the other side is a delightful surprise, Dylan distracted by taking in the scenery around the apartment until Isadora opens the door fully. He grins wide when they lock eyes, holding a stack of tupperware in his arms.

> **Isadora: **Dylan. What are – what are you doing here?
> 
> **Dylan:** I wanted to swing by. I hope that’s okay.
> 
> **Isadora: **Sure. Um… what’s with the stuff?
> 
> **Dylan: **Oh, yeah, well –

Dylan adjusts them in his arms, letting out a laugh. Blue joins them in the living area, curious.

> **Dylan:** I know you’re in transition right now and stuff, and with everything going on I figured y’all probably weren’t cooking for yourselves. Ramen is sustenance, but it’ll only last you so long. And I had plenty of time cause of break, so I just threw together a meal or two.

Or ten. It’s a complicated transferral from Dylan’s arms to Isadora’s to make sure nothing gets dropped, Blue jogging over to help.

> **Dylan: **I had Asher write the stickies with the reheat instructions – his handwriting is way better than mine, so.

Valerie flutters up to the doorway to get a better look, having waited long enough in the shadows. She brightens when she recognizes him, knowing him as one of Isadora’s classmates and eager to engage with another one of her friends. Dylan may not be her biggest fan, but he’s far more adept at feigning friendliness and navigating social situations than say, Lucas.

> **Valerie: **Yes, yes, you were amongst the techies. Am I right? A darling crop of little talents there, I remember.
> 
> **Dylan:** Sure was. It’s great to see you again.
> 
> **Valerie:** I remember, you had on that bright yellow crewneck. Impossible not to make an impression wearing that! And you were always with – where’s your other friend? The well-dressed, dainty one –
> 
> **Isadora, apprehensive:** Mom –
> 
> **Dylan, lighting up once he understands:** Oh, Asher! My boyfriend. _[ off Valerie’s delighted expression ]_ Yes, I do quite love his little bird bones. He’s on vacation with his family for the break.

Isadora attempts to end the conversation before it can take any negative turns, thanking Dylan for the food and thinking of her.

> **Valerie: **Oh, you have to go so soon?
> 
> **Isadora: **I’m sure he has better things to do.
> 
> **Dylan, softer:** Actually, um, I was kind of hoping we could catch up. _[ meeting Isadora’s eyes ] _We haven’t had much of a chance to talk, lately.

There’s a pause between them. Isadora seems like that’s something she might like to do too, but with Valerie hanging around them they won’t get to really say much of importance.

Blue steps in, asking Valerie if she might be able to help him get all this food organized and in the fridge. A swoop in rescue if there ever was one.

> **Blue, pointedly:** Might take some time. My fridge could use some reorganizing.
> 
> **Valerie: **Oh, it would be my privilege, Blue. Don’t you worry, I have just the solution. My good friend Marie Kondo is really into this sort of thing, and she gave me an _exclusive_ method I could use –

Valerie trails off as they disappear towards the kitchen, giving Dylan and Isadora space. Isadora watches her go, then turns back to Dylan who offers her a smile. She manages to return it.

**INT. MINKUS HOME - DAY**

Farkle is in the midst of reading, interrupted by another knock at the door. He shouts for Uri, assuming it’s for him. When no one goes to answer and they knock again, Farkle lets out an annoyed growl and climbs to his feet, dropping his book on the couch.

> **Farkle:** If you’re gonna have people over, the least you could do is not have your ailing brother open the damn –

He cuts himself off when he sees a familiar face on the other side. Clearly not there for Uri.

> **Farkle:** … Zay? What are you doing here?

Zay Babineaux, indeed. He seems a bit uncomfortable as he stands in the fancy hallway, but he made it there regardless.

> **Zay: **Riley is damn hard to disappoint. _[ a beat ] _You going to let me in?

Farkle steps back, allowing his rival diva into the apartment. Zay is struck by the opulence, jaw dropping open slightly as he takes a look around. He knew Farkle was loaded, but it’s a lot different to see it up close and personal.

Zay bothers to ask how Farkle is doing – he claims as to be expected, but somewhat better. Dare he admit it, he honestly misses the high energy and constant action of AAA. There’s plenty he doesn’t miss, but the life that seems to pulsate through it every day is a big one.

> **Farkle: **But I’m sure you know that better than I do. I’m sure you’ll probably want to be going soon. People to see, actually healthy relationships to foster.
> 
> **Zay:** To be honest, I don’t think I’m doing much better in that department either.

Farkle blinks, surprised. Zay isn’t looking at him, keeping his gaze trained out the huge wall of windows towards the city. There’s a solemnity to his expression that Farkle hasn’t ever really seen before. Whatever it is that’s weighing him down, it must be important.

The solution, it seems, is to go back to what the two of them do best. Farkle says so. Despite whatever is in flux otherwise, there is one thing that the two of them can control without fail – their ability to put on a good performance.

* * *

**Song Cue ♫ ♪ “no tears left to cry” as performed by Ariana Grande || Performed by Farkle Minkus & Zay Babineaux**

Farkle kicks off the diva number, but it’s not long before Zay joins in. It’s difficult for him to turn down Ariana, after all. It’s the first true Farkle & Zay duet, and their voices clash just enough to create an intriguing, compelling dynamic rather than irritating. Not to mention they both bring the energy, dancing around the spacious penthouse.

Given the space, it’s also the perfect opportunity to pay tribute to the original cinematography. Zay is allowed to temporarily slip into the melodramatic mindspace of Farkle Minkus, the two of them walking on the walls and balancing amongst a penthouse folding in on itself.

The sentiment of the tribute rings strong for both of them. The time for wallowing is over, and they’re both ready to jump back into the ring with stronger motivation than ever before, albeit for quite different reasons.

* * *

As the number concludes, Zay collapses into the armchair adjacent to the couch. He catches his breath and commends Farkle for a job well done, as it seems even near death can’t knock him out of performing shape. Farkle admits he has to work extra hard to keep up with him.

The conversation drifts to Zay’s plans for the rest of break, after Farkle flatly states that his spring break basically belongs to the confines of his living room. He explains all of the auditions he’s lined up for future opportunities, vaguely alluding to his change of priority. Farkle doesn’t question it, instead lighting up as he remembers something.

He jumps to his feet, returning from the kitchen a moment later with another pamphlet. He hands it to Zay, stating that he should add that program to his roster for the week. It’s some audition that only folks on a paying list can really get updates about, but he should go for it since Farkle certainly won’t be going up for anything any time soon.

Zay seems hesitant to accept charity from him, but also grateful. He takes it and looks through it, asking if Farkle thinks he should actually do it. Any of it. If it’s even going to be worth it.

> **Farkle: **I don’t know, man. Who knows what’s worth it and what isn’t in this business. It’s all a shot in the dark.
> 
> **Zay: **Yeah, but you’ve always had more luck. You’ve been the golden child since we walked through the doors of Adams freshman year.
> 
> **Farkle:** Yep, totally. I was the million dollar baby – and yet, I still wanted to kill myself._ [ off Zay’s grimace ] _I’m just saying, we all have to do everything we can, because talent sure as hell isn’t everything. If you think you need to stretch your network, then by all means, do it. Knowing you, it won’t take long for you to see results.

Zay contemplates this, such a supportive and well-meant notion coming from his formerly feral classmate. He nods a thanks.

> **Riley, pre-lap:** So happy to help. You’re very welcome.

**INT. SOUP KITCHEN - DAY**

Riley smiles as a customer walks away with their food, working behind the counter at a soup kitchen. She’s got the apron and plastic gloves and all, hair pulled back out of her face in a tight bun. She reaches up to ding the small bell on the countertop in front of them, signaling they’re ready for a new patron.

Lucas is there next to her, also aproned and gloved. He looks less enthused, though he completes the work diligently. He states that if he has to do so much labor with no gain or end goal for himself, then he supposes the fact that it’s helping the less fortunate is something.

> **Lucas: **I don’t even like working for myself. You can imagine my disdain.
> 
> **Riley:** _[ rolling her eyes ]_ You know that whole act doesn’t work on me. The lazy, devil-may-care thing. I know it’s not true, I see right through it.
> 
> **Lucas:** I don’t know what you’re talking about. I’m not see through.
> 
> **Riley: **You’re a window. An open window.
> 
> **Lucas: **Okay, sure.
> 
> **Riley: **Not even a screen in there. Just wide open, letting in the breeze and the sunshine.
> 
> **Lucas:** See, that’s a _very_ sanguine perception of me. I don’t think you could get popular consensus on that.

Riley gives him a look, the two of them holding one another’s glares again before inevitably breaking into smiles. They get distracted from the moment anyway, duty calling and hungry people waiting to be served. Riley picks the conversation back up again, pointing out that Lucas does in fact gain something from all this work – the privilege of not going to prison. He claims that would be a gross overreaction anyway.

> **Riley:** Well, you _did_ steal a car.
> 
> **Lucas:** Borrowed. For temporary reckless purposes. _[ defensively ] _And I was going to give it back.

Riley makes an incredulous face, but once again amusement is hindering its impact. _And that makes a difference?_ Lucas brings it all back to the point, reiterating that while it feels nice to contribute something meaningful, it’s going to be hell getting through an entire week of something so monotonous.

Well, all you need to fix that is a little bit of initiative. Riley says as much, glancing around the shop where people are chowing down and calling to one of the elderly men seated over by the corner table. She requests that he bump the dated jukebox installed to get it going, breathe some life into this place.

> **Lucas, deadpan: **Oh, yes. Music is the solution. How could I have forgotten?

* * *

**Song Cue ♫ ♪ “Lady Madonna” as performed by The Beatles || Performed by Riley Matthews (feat. Lucas James Friar)**

The popular Beatles tune floats in through the jukebox, the patrons immediately appreciating its upbeat bounce. Riley shakes her shoulders to the beat, grooving in place until the vocals start so she can sing along.

> **Lucas: **And now you’re singing. Okay. Sure.

Despite his commentary, it’s impossible for Lucas not to be endeared by her when she’s being so darn charming. She continues to sing and dance around him regardless of his sarcasm, taking it out into the shop and pulling customers into the fun. They clearly appreciate it, singing along with Riles when she hops up to sit on one of the tables.

She makes her way back over to Lucas at the conclusion of the first verse, taking his hand and pulling him out from behind the counter. As they make their way out of frame…

**EXT. NEW YORK STREETS - DAY**

We jump into a quick cut montage of Riley and Lucas making their way through the week doing all sorts of different community service projects. They shelve books at the library, they pick up trash alongside the road. They help fix up housing accommodations that are in disrepair, flicking paint at each other; they’re surrounded by puppies at the animal shelter, where Lucas seems to actually be _enjoying_ what they’re doing.

At the end of the middle transition, the first “_see how they run_,” Lucas and Riley sing it together while taking a moment of reprieve from running all around town doing good. Lucas seems exhausted, yet Riley’s grin brightens the mood as she spins him around and nudges him back off-screen into the next thing.

**INT. SOUP KITCHEN - DAY**

Back in the soup kitchen, Riley has pulled Lucas out onto the floor amidst the tables. She pulls him into a simple dance move, a shot focusing on both of their shoes doing the moves across the linoleum floor. Scuffed up black boots and cute doodled-on Keds, moving somewhat in sync and in the same direction.

**INT. PUBLIC LIBRARY - DAY**

Riley rides on the book cart as Lucas continues to push it through the aisles, picking up the verse again and handing books to Lucas to shelve as they go. The song takes us back through each of their projects one more time, in time with the beat…

**INT. SOUP KITCHEN - DAY**

Until we end up back behind the counter at the soup kitchen, back to the same old but in admittedly much better spirits than before.

Riley spins around Lucas and ends up back in her spot, exchanging a flirtatious beam with him before reaching up and hitting the bell to signal the end of the number. _Ding!_

* * *

**EXT. BLUE’S APARTMENT - DAY**

Isadora and Dylan are out on the tiny balcony that can hardly be called a balcony, cramped against the sliding door and sharing the tupperware bin of cookies. Isadora hasn’t indulged in her treat yet, too preoccupied with Dylan’s story as he catches her up on everything that happened, building up to the joy ride. When he finishes, she can only formulate one statement.

> **Isadora:** Holy fucking shit.

Yeah, that about sums it up. Dylan nods in agreement, breaking a piece of his cookie and popping it into his mouth. She attempts to process it all, expressing the same thought that she can’t believe Dylan is being so cool about all of it. He shrugs, Isadora shaking her head and lamenting how shitty Lucas has been, that of course it would culminate in something like this.

Dylan gives the same shorthand defense that he gave to Asher, before pointing out that Isadora is probably speaking way more from her own anger towards Lucas that she’s chosen not to confront nor address for months. It’s a take that floors her to speechlessness, Dylan noticing her shock before shrugging again.

> **Dylan:** Sorry. I’ve been to the clink, I’m a different man now.

At that, Isadora rolls her eyes. But she has to admit that he’s right – she and Lucas haven’t spoken in months. And even when they were talking, they weren’t really talking. The last time she feels like they really understood another, were really listening, was almost a year ago. And she wouldn’t even know how to communicate with him now.

Dylan states she doesn’t have to if she doesn’t want to, but to him it seems like she does. It’s impossible for either of them to move past the way they are right now because there’s no closure. If she gives it one more chance and actually _talks_ about things, then at least she’ll get that.

> **Dylan:** Even if it’s not good, even if it’s the last conversation you ever have, at least it’s something. You’ll be able to clear the air. A certain goodbye is better than endless uncertainty.

Although she seems reluctant, Isadora claims she’ll think about it. She asks how Asher is handling things and if Dylan has made his choices about the whole situation, to which Dylan affirms both. He knows that Asher will make the right choices, and as for himself, he’s never wavered on where he stands. He’s always been an advocate for forgiveness, so long as the action isn’t totally reprehensible. Especially when you love the person who is seeking it.

Isadora absorbs the sentiment, taking a good look at him. Although she doesn’t say it, the softness that shimmers in her features conveys how much she missed Dylan.

> **Isadora: **Since when did you become all wise?
> 
> **Dylan, earnest: **The hour and 13 minutes that I was behind bars really changed me.

She can’t help but laugh, Dylan cracking his delivery to grin. Isadora takes a bite of the cookie, humming in appreciation and nodding.

> **Isadora, mouth full: **This is fucking delicious.
> 
> **Dylan: **Why thank you. And you’re welcome.

**EXT. HART FAMILY HOME - HILLSIDE - DAY**

A fresh new day. The sun is rising over the hillside, a pleasant breeze blowing the long grass.

Maya stands amidst the fresh air, taking it all in. She’s almost unrecognizable, no longer in her diva best. Fresh-faced with no make-up, money-making hair pulled haphazardly out of her face in a ponytail. Dressed plainly like the rest of the Hart family.

She closes her eyes, inhaling a deep breath. Absorbing the sunshine, the oxygen, the chance to really breathe. You can take the girl out of the theatrical, but you can’t take the theatrical out of the girl.

Then she turns and heads back up the hill towards the house.

**INT. HART FAMILY HOME - DAY**

Maya steps back inside the house and immediately joins her grandparents at the kitchen table for brunch. Katy and Vivian are just finishing set up the food, all of them settling in to eat. The way Maya interacts with her family is quite different from the way she is at school, but there’s something refreshing about it. In some ways, it might be nice to see her bring some of this energy back to AAA with her.

Still, her grandparents are invested in her dreams and ambitions. They ask Maya how the fancy arts school is going, and she enthusiastically responds with all of the things she’s gotten to accomplish in the last couple years.

Katy attempts to dig for truth again, subtly shifting the conversation to give Maya an opening to speak truthfully. She loves AAA, of course, but Katy is well aware of how complicated everything is within its walls.

It’s obvious she wants to ask about Farkle, but Maya manages to evade the discussion effortlessly. She digs into her breakfast, changing the subject by asking what Vivian and Henry might want to do that afternoon. Katy accepts the shift, but it’s clear she’s not pleased with it.

**INT. MINKUS HOME - DAY**

It’s Charlie’s turn to make an appearance at the Minkus home. Farkle pulls open the door that morning to find him standing there, a tupperware haul in his arms that could rival Dylan’s. Farkle is stunned to see him, obviously not expecting it.

Charlie greets him, and once Farkle awkwardly invites him in he launches into a swift explanation of each of the dishes his family put together for them. He wraps up by explaining the two large tupperwares on the bottom, where a couple of casseroles have been stored. He mentions one of them containing pork.

> **Farkle, flatly:** We’re kosher.
> 
> **Charlie, breathless:** … oh. Oh. Well, um –
> 
> **Farkle:** It’s fine. Uri is a heathen, he’ll eat anything.

Farkle takes the tupperware from him, inviting Charlie further in as he goes to drop the stuff in the kitchen. He seems less energized today than earlier in the week, operating with a brusque, restless nature instead.

His offhand bluntness doesn’t help Charlie’s nerves. It’s clear he’s glad to be there out of good will, but he moves about the spacious apartment with obvious uncertainty. So Farkle’s sarcasm only adds another unsettling factor.

> **Farkle:** By all means, make yourself comfortable. We can only hope we don’t get smote by a vengeful God –
> 
> **Charlie: **Huh?

Farkle pauses. There’s a subtext to his statement that his knowledge allows him – Charlie being gay, Farkle having attempted suicide – but he opts for the more blatant explanation.

> **Farkle: **You know, the subtle differences in our chosen beliefs. Let’s hope your Catholic deity doesn’t kill you for hanging out with a Jew.

Charlie is so scatter-brained he doesn’t even have the energy to care about that take on his religion. He awkwardly brushes it off, settling onto the couch and asking Farkle how he’s doing. They were all worried about him. Farkle obviously doesn’t believe him either, pacing along the carpet as he gives Charlie a similar spiel.

When he turns the tables back on Charlie and asks how things are, he carries the same uncertainty that Zay did a couple of days ago. Farkle picks up on this, smart enough to piece together that something must be going on between the two of them. Sure makes both of their free time to come see him more logical.

It feels like Charlie could use an escape, and honestly in that moment Farkle is feeling the same. He says as much, jumping back into his former frenzied energy and claiming that Charlie should just forget it for now. He claims they should direct their focus into something better, a little practice maybe – Charlie seems skeptical, wondering if Farkle should maybe like… be resting, but he’s already off and running.

* * *

**Song Cue ♫ ♪ “I’m Still Standing” as performed by Glee Cast || Performed by Farkle Minkus & Charlie Gardner**

The rendition is bouncy, fun, and definitely checks off the boxes Farkle was trying to achieve. He and Charlie both pour all of their nervous energy into it, making for a good performance. It’s especially interesting to see the two of them perform together, as it’s essentially a first in _AMBITION_ history.

* * *

For as neat as the number is, it comes to a rather abrupt conclusion. Ironically, Farkle grows weary fast and nearly collapses. Charlie immediately drops down next to him and helps pull him back to his feet, moving them back towards the couch while Farkle catches his breath.

Despite how fine he’s attempting to appear, everything Farkle has endured isn’t just going to go away. His choices have consequences, and Charlie is witnessing the exhaustion that comes with it. He braces his shoulder and questions whether he’s okay, or if there’s something he can get him. Rather than answering, Farkle throws a curveball.

> **Farkle:** I’m sorry, Charlie.
> 
> **Charlie, confused: **What? For what?
> 
> **Farkle, out of breath: **You’re a good guy. A little bland, yeah, but you’re good. You really care about people – even people like me, despite all the shits I gave about that – and I used to think that was dumb. I figured it made me better than you, but it doesn’t. I’m not. And you’re just as good as the rest of us – you always have been.
> 
> **Charlie:** … I mean, I didn’t –
> 
> **Farkle:** I just want you to… you’re talented, Charlie. Okay? You’re just as good as anyone else, definitely as much as me. _[ locking eyes with him ] _I’m really sorry if I ever made you feel like you weren’t.

It seems out of left field, yes. But the origin of it is clear, all of these things that Farkle has been ruminating on but didn’t have the chance to say – might have never had, if his attempt had succeeded. Now he’s making up for it. Now he’s saying it.

Charlie absorbs the sentiment. Somehow, it’s just what he needed, and means more to him than he could’ve anticipated. He manages a smile, nodding and patting Farkle’s shoulder.

**INT. HART FAMILY HOME - LIVING ROOM - DAY**

Katy finally gets a moment alone with Maya, settling down on the couch with her as she flips through an actual hard copy newspaper. She makes a joke about how those things have real actual stories in them – who knew? Katy humors it before using it to transition to what she wants to talk about: why Maya came all the way out here to avoid spring break in New York.

> **Maya, timidly:** Isn’t wanting to see you enough?
> 
> **Katy: **Of course, and you know I’m happy you’re here. But I wasn’t born yesterday.

Maya hesitates, perhaps about to really open up… when Henry and Vivian enter to join them. Maya sees their entrance as an opportunity for avoidance, picking the most effective conversation starter she knows – Katy’s unappreciated talent.

After bringing up how Katy hasn’t performed in a hot minute, it doesn’t take long for the grandparents to jump on the bandwagon despite Katy waving them off. Henry, the artistic of the two, settles in at the piano and claims they can throw something together. Provided it’s something they all know.

> **Maya: **Culturally timeless… you know a thing or two about _Hamilton_, pops?
> 
> **Henry: **Sweet pea, everyone knows a thing or two about _Hamilton_.

Maybe so. Maya grins, wiggling her eyebrows at Katy as her mother takes a spot by the piano with Henry. She gives Maya a look, but softens as the soft piano kicks up.

* * *

**Song Cue ♫ ♪ “Dear Theodosia” as performed by _Hamilton_ Original Broadway Cast || Performed by Katy Hart & Maya Hart (feat. Henry Hart)**

Henry’s delicate piano lends a definitive charm to this understated duet, Katy taking the Burr verse. She sings uncertainly at first, but as she looks at Maya and emotes the chorus (_“We’ll bleed and fight for you, we’ll make it right for you…”_), her lovely voice gains more confidence.

Maya jumps in on the Hamilton verse, her performance a bit more cheeky considering she roped her mother into it. But when they get to the bridge (_“My father wasn’t around, I promise I’ll be around for you…”_), that devotion and love they have for one another is crystal clear all over again. Maya takes Katy’s hand resting on the piano, linking their fingers.

Henry smiles as he plays along, pride twinkling in his eyes. Vivian watches from the couch, not a creative herself but happy to see her family all together again.

Even in the midst of chaos, there can be moments of beauty.

* * *

**EXT. NEW YORK STREETS - NIGHT**

Valerie and Isadora are out on the town, having just seen a movie together. Despite it being one of Isadora’s interests, Valerie is keeping up a bulk of the discussion. It’s almost incessant, the way she’s all over the place to keep up conversation. She doesn’t notice, but Isadora is definitely starting to feel a bit of drain.

However, some of this exhaustion melts away when they bump into Eric emerging from a store. He greets them both cheerfully, Isadora engaging in conversation with him seemingly much more seamlessly than with Valerie. Eric assures Isadora that he’s quite enjoying his break, and he promises to continue not doing any work while he’s on vacation.

Valerie definitely clocks their playful back and forth, watching them with fascination and a bit of something like envy or disappointment.

**INT. MINKUS HOME - KITCHEN - NIGHT**

LILA MINKUS is present, helping Farkle with his recovery medications and ensuring he takes them properly. Their back and forth is dry and sarcastic as usual, but Lila is operating with slightly more tact than usual. The banter is more sibling-like rather than colored with genuine disdain.

Once he’s finished and subject switches to dinner plans, Lila pauses. Following the same pattern as Farkle earlier, she finds herself blurting out an emotional truth before she can think it through the way she’s used to.

> **Lila: **You know I – you know I care about you, right?
> 
> **Farkle: **… sure. Yeah.
> 
> **Lila: **I don’t just mean like – I know we haven’t always been… I care about you. I can’t even imagine… _[ voice cracking ] _You can’t ever pull shit like this again. Okay, germ? You aren’t leaving us like that.

Farkle seems surprised by the genuine vulnerability. It’s uncommon in their household, but despite the stammering and tripping over words, he understands what she means. He nods.

> **Farkle:** Got it.

Lila nods, managing a tight smile before escaping from the vulnerability. Farkle watches her go, the ghost of a smile appearing on his face as he puts his water glass in the sink.

**EXT. HART FAMILY HOME - FRONT PORCH - NIGHT**

Maya has retreated to the fresh air again, sitting on the hammock chair on the porch. Katy steps out to join her, quietly settling down next to her. She questions whether or not Maya has had enough dancing around the issues and is ready to talk about them. They exchange a look, Katy quirking an eyebrow knowingly.

It’s hard to hide from Katy. Maya sighs dramatically, Katy breaking into a smile and wrapping an arm around her shoulders.

> **Maya, melodramatically: **It sure is nice out here in the middle of nowhere. Fresh air, quiet, a strange sort of whimsy that comes from having absolutely nothing to offer._ [ sighing ] _Perhaps it would be better to retire out here to live out the rest of my days, shelving the glitz and glamour of show business for the humble accommodations of the Vermont hillside.
> 
> **Katy: **You’re a good actress, but you aren’t that good, baby girl.

Point taken. It’s not a convincing option, coming from Maya. Katy redirects the conversation to what Maya might be running from instead, because she knows it has nothing to do with the dream.

Finally, Maya does her best to talk it out. She admits that Farkle will be returning to school next week, and she just needed the chance to get away from it all and really think. She’s not really upset with him anymore – in some ways she is, but mostly she’s just tired. She wants the theatrics between them to stop, but she doesn’t think she wants to remove him from her life for that to happen. She liked having him as a friend; she misses him, and she doesn’t think she can continue to front that she doesn’t anymore. It’s too exhausting, living as a projection rather than authentically herself.

That being said, she doesn’t want things to follow the same pattern and self-destruct all over again. Something has to give, something has to change if they’re going to be friends again. She isn’t sure what, but she figures it won’t even matter if Farkle himself isn’t open to discussing it or willing to change.

As Katy wisely says, it seems like the next logical thing to do is to bring Farkle back into the conversation. Maybe he isn’t willing to change… or maybe he’s been thinking the exact same things. There’s only one way to find out, even if it’s daunting.

Maya sighs, accepting this as truth. She cuddles closer to her mom, reveling in how nice it feels to have her there with her again.

> **Maya: **I love you, mom.
> 
> **Katy:** I love you, too. Every hour of every day.

She places a kiss on the top of her head, settling into the quiet of the Vermont evening.

**EXT. BLUE’S APARTMENT - NIGHT**

As they arrive to drop Isadora off, Valerie is already overcompensating for the earlier strain in trying to decide what they’ll do tomorrow. And has Isadora figured out who will be accompanying them on Friday? She doesn’t want to rush her, or anything, but it is coming around the bend.

Socially, Isadora has reached her limit. She sort of snaps at Valerie, stating no, she hasn’t figured it out yet. Things go quiet between them, Isadora sighing and facing towards the door. She opts not to just run from the negativity and tries to be honest with Valerie, expressing that she just needs some space. She’s glad she’s there, she is, but it’s… too much all at once. Maybe some time to herself would help.

Valerie does her best to be okay with it, but it’s evident she’s hurt. She relents, bidding Isadora goodnight and requesting that she reach out when she’s feeling more… interested in being with her again. But no rush.

As Valerie walks off, Isadora watches after her. She’s torn, not satisfied with how that conversation went but also too exhausted to deal with it further. She disappears into the apartment.

**EXT. NEW YORK STREETS - DAY**

* * *

**Song Cue ♫ ♪ “Run And Tell That” as performed by _Hairspray_ Original Movie Cast || Performed by Zay Babineaux**

The groovy intro floats over the city as a new day starts, zeroing on Zay emerging from the subway as he launches into the first verse. As he runs and dances his way around Manhattan, bystanders seem to join in on the performance and supplement the epic feeling of his progression through the city.

He darts in and out of buildings, sliding onto the stages and giving a flurry of different auditions. His outfit and style shift as he goes, representing the passage of time throughout the week as well as how he presents himself to each opportunity. Regardless, one trait remains the same – his unmistakable talent.

**INT. AUDITORIUM - DAY**

When it gets to the Little Inez bridge, it’s not a different performer but rather stands in as Zay’s “audition” piece. And suffice to say, it’s impressive, showing off his energy and overlooked vocal power. About time we saw this spirit again!

**EXT. NEW YORK STREETS - DAY**

Audition portion completed, Zay bursts back out onto the streets of Manhattan. More and more of the crowd has gotten into the groove, creating a truly vibrant and energetic portrait of the city.

**EXT. NEW YORK STREETS - DANCE LOT - DAY**

We make a return to a friendly setting to conclude the number, Zay rounding out the performance with his crew of talented and eclectic youth at the dance lot. No Charlie accompanying him this time around, but that doesn’t seem to make a difference. He’s alight with the passion he’s been putting on display all week.

Maybe this is what everything is all about. It’s like he’s gotten so distracted with everything else, he forgot why performing makes him so happy in the first place.

No ignoring it now, that’s for sure. The fellow dancers crowd around and give him welcoming pats on the back and high-fives as he slays the final run. _Woo!_

* * *

**EXT. CENTRAL PARK - DAY**

Meanwhile, Riley and Lucas are taking a well-needed reprieve from all their court-ordered do-gooding. They’re basically having a lowkey picnic, snacking on a late lunch after another long day of volunteering. Conversation seems to be easy between them, Lucas sprawled on his back and staring at the sky while Riley sits cross-legged an arm’s reach away.

After their chuckles die down from whatever they were talking about previously, Riley states that Lucas was really good at the animal shelter. He definitely has a knack for working with animals, at least far more so than anything else they’ve spent the last week doing.

> **Lucas:** I don’t think it’s hard to show more enthusiasm towards animals than say, trash on the side of the interstate.
> 
> **Riley: **_[ nudging him ]_ I’m serious. Honestly, I don’t think I’ve seen you be that interested in something… like, ever.
> 
> **Lucas:** It’s not my fault most things aren’t interesting. If they want my attention, then they should be better.

Riley shakes her head, biting back a laugh. She tilts her head at him.

> **Riley:** I’m just saying. Maybe this could become something more permanent. You know, when it’s _not_ a punishment for criminal activity. _[ a beat, then playful ]_ Maybe you could get into the habit of _actually_ doing good.
> 
> **Lucas, thoughtfully:** … maybe with you I could.

Oh. That’s not very playful or offhand at all. Lucas realizes his slip up a second too late, glancing nervously at Riley before directing his gaze anywhere but at her. Given that he’s facing the sky, it’s not hard to find other places to look.

But Riley doesn’t miss the moment. She absorbs it, smiling lightly to herself and pressing her lips together to hide it.

After a moment of quiet, Riley starts to broach the topic of how things have been the last few months. She figures it’ll be a touchy subject, but surprisingly, Lucas claims he has something he wants to say about that. She watches him curiously as he pushes himself upright, propping his elbows on his knees and taking a deep breath.

Then he meets her eyes, trying his best to be sincere.

> **Lucas:** I’m sorry. About the way I’ve been acting.
> 
> **Riley:** I get it. There’s been a lot going on.
> 
> **Lucas: **Yeah. But that’s not an excuse. _[ a beat ] _I think… it just got too easy to deflect. Do you know what I mean? Like things were never good, but then with each thing that got stacked on top of each other in the last month it just felt like another good reason to fall apart. To let another screw go loose, and push away another person who was trying to fix it, until I was standing in the precinct parking lot with a whole bunch of… spare parts, junk, and no clue how they fit together anymore. And I’d done a good job of telling everybody to fuck off, so there’s no one left to help me put things back together. Now I’ve just got to… do it. It just sucks that it took hitting every rock on the way to the bottom for me to realize it.

Riley frowns, sympathetic. But she doesn’t interrupt, letting him work through the feelings on his own.

> **Lucas:** I got there, and now I’ve got to try and fix it, but no amount of reason is a good enough excuse for the way I’ve been treating people. Especially you. _[ looking at her ] _So I’m genuinely sorry.

An apology was more than Riley was ever expecting, least of all one that feels so honest. There’s a moment of quiet, then she accepts it. They exchange tentative smiles.

Riley questions if he’s planning the same approach for his other friends, to which Lucas sort of laughs and weakly states he doesn’t know who would even count as a friend anymore. She says Asher and Dylan without hesitation, and it’s clear from the way he grows even more timid that they’re at the forefront of his mind.

With a little more nudging, Lucas admits that he doesn’t see what the point is. He was rude to Riley, but he was reprehensible with them. They were there for him and he took advantage of it at every turn, even if he didn’t consciously mean to. After the way they left things, with the things he said to Asher and everything with Dylan and the joy ride…

> **Lucas, defeated: **He’s done. And he should be. _[ shaking his head ] _He’s never going to forgive me.

Riley understands the hesitation, but she delicately offers a counterpoint.

> **Riley: **Not to sound like the dreamy optimist, but I really wouldn’t be so sure about that.
> 
> **Lucas: **You weren’t there, okay? You don’t know how – I really fucked up.
> 
> **Riley:** No offense, but I don’t have to have been there to believe that. But I don’t think you’re giving Asher enough credit. I know I don’t know him the way you do, but he doesn’t seem like a particularly vengeful guy. Especially not with someone he loves so much._ [ a beat ] _You’d be surprised how hard it is to give up on someone you love.

Lucas seems bashful just at the insinuation, still far from comfortable with such open discussions of affection. But perhaps Riley has a point – she speaks confidently enough, like she knows. He’s certainly listening.

> **Riley: **I’m not giving any guarantees or anything. I just think that, yeah, if you never apologize because you think it’s not even worth it, then Asher _definitely_ will never forgive you. If you never give things the chance to work out, then they won’t.

Something to think about. Lucas contemplates it, seriously considering her point.

**INT. HART FAMILY HOME - DAY**

Maya finds Vivian in the kitchen, prepping early for dinner. She asks if she wants any help, and Vivian cracks a joke about Maya volunteering to do any sort of housework. Is she sure she’s the same granddaughter she’s always known? Maya rolls her eyes, nudging her playfully before requesting instructions on where she can help.

While they work, Maya takes the opportunity to ask Vivian how she feels about Katy and her current straits. Considering Maya is, perhaps foolishly, trying to do the same thing, does Vivian regret letting Katy try to pursue her dreams rather than doing something more practical?

Vivian prefaces by telling Maya she knows she would never beat around the bush with her. Harts are hearty people, and damn honest at that.

> **Maya:** Believe me, I know. Got a bit of a reputation for it myself.

That aside, Vivian admits that the whole notion of following the artistic dream does feel a bit reckless to her. She’s not a creative person either, so that doesn’t help the mystery of it in her eyes. But that being said… what’s life if not a little bit reckless?

> **Vivian: **I may not get all of the hubbub around the dream, or the passion behind it. But what is the point of life other than to live it? Taking the guaranteed safe route when you believe you could do something more feels a little bit like cheating yourself… especially for someone as hearty as a Hart.

This placates Maya. It’s nice to remember that there are people in her corner all the time, even when they’re not in plain sight right there in front of her. She gives her grandmother a quick kiss on the cheek, then jumps back into dinner prep with the same intensity as a new performance.

**INT. MINKUS HOME - DAY**

As the week has waned on, Farkle’s energy has come and gone in waves, and presently it’s at a low point. He’s crashed on the couch, eyes glazed over as he watches television. He’s startled by a knock on the door, but he doesn’t make a point of rushing up to get it. When they knock again, Lila emerges from the hall rather than waiting for Farkle to get up and do something about it.

She returns a couple moments later, poking her head in from the entryway.

> **Lila: **Hey. Someone’s here for you.
> 
> **Farkle, monotonous:** Couldn’t be. I don’t have friends.
> 
> **Lila:** You’ve had like five people come by this week. Who were they?
> 
> **Farkle: **Okay. Those were my only friends.
> 
> **Lila:** Would you stop wallowing and just get up? I’m going to let her in either way.
> 
> **Farkle: **You’re the worst sister ever.
> 
> **Lila:** Socialization is good for you.
> 
> **Isadora, from off-screen: **This is ridiculous –

Farkle frowns as he places the familiar voice, turning to look over his shoulder just as Isadora marches into the room. Farkle’s eyes widen and he scrambles to his feet, obviously not expecting to see her at all.

> **Farkle:** Isadora – Smackle – what _[ adjusting his askew sweatshirt ] _what are you doing here?
> 
> **Isadora, unimpressed: **What’s the matter? Did they take away your ability to walk and answer the door for yourself in treatment?

Farkle is speechless, embarrassed. This certainly isn’t the state you want one of your key intellectual rivals to see you in… well, ever. Lila looks back and forth between them, somewhat amused.

> **Lila:** I’ll leave you to it, then. Nice to meet you, Isadora.

Isadora nods to her as Lila disappears back into the hall, snickering to herself.

Farkle and Isadora stand at an impasse for a moment, not sure what to say to one another. Farkle clears his throat, scratching at his neck.

> **Farkle: **You didn’t have to come by. Just because you feel bad.
> 
> **Isadora: **That’s not – _[ scoffing ] _that’s not why I came.
> 
> **Farkle:** No?
> 
> **Isadora: **No. I’m here to save your education.

Isadora marches over to him, shoving the homework from Cory into his arms. He manages to catch it, Isadora huffing and pushing past him further into the room. He sorts through the items, realizing that her intentions for visiting were at least partially utilitarian and genuine. He can appreciate that.

> **Farkle: **Oh. Well. Thanks.
> 
> **Isadora: **Uh huh.

He puts down the homework amidst his spread of books on the coffee table, Isadora eyeing them and inching closer to get a better look. She curiously questions how his recovery is going, demonstrating her own knowledge of mental health exposure when she asks if they’re planning to put him on any permanent medication treatment plans.

Farkle flops back onto the couch, shrugging.

> **Farkle: **They’re throwing all of it around. Lexapro. Zoloft. Prozac or Celexa. _[ snorting ]_ You know what I realized? “Farkle” sounds like a drug. I’m a fucking antidepressant.

The problem, he concludes, is that they really don’t know _what’s_ up him, so they’re hesitant to formulate a treatment plan. And makes sense, because he sure as hell doesn’t know what’s up with him either. Guess he’s destined to find out, sooner or later.

Isadora awkwardly wishes him luck with that, Farkle making an unimpressed face. Quiet settles between them – she’s done her duty, and there’s nothing more to say – but for some reason she doesn’t rush to leave.

Farkle hardly notices, sort of zoning out. Isadora recognizes the vibe, commenting that it’s okay. Farkle blinks, snapping out of it.

> **Farkle:** Huh?
> 
> **Isadora: **That they’re still there. The… those kind of thoughts. They’re not just going to disappear because you went to one rehab treatment.
> 
> **Farkle: **Auspicious. Thank you.
> 
> **Isadora:** I’m only saying, you don’t have to be back in tip-top tyrant shape right away. You can… take a moment. Remember how to breathe again before you take off running.

Oddly apt to what he’s feeling, even if he’d never vocalize it. He doesn’t seem convinced, but Isadora isn’t going to just say her piece and go. If she’s going to make her point, then she wants to make sure Farkle really hears it.

* * *

**Song Cue ♫ ♪ “Here Comes A Thought” as performed by Estelle & AJ Michalka|| Performed by Isadora De La Cruz & Farkle Minkus**

With the opening synth, Isadora hesitantly takes a seat closer to Farkle. Her vocals, although strong as usual, also have a softer edge than we’re used to when she performs – it’s an intimate conversation, still, even in song form.

The whole performance is very lowkey, the two of them simply sitting next to each other, watching each other carefully. Farkle joins in about halfway through, allowing himself to be more open about his mental state for the first time in the episode.

As the song comes to an end, there’s an unusually vulnerable moment shared between the two of them. They hold eye contact, recreating some of that feeling they felt in Eric’s office during group week although no closer to really understanding what it is.

* * *

Isadora clears her throat, searching for a change in subject. She nods towards the English homework.

> **Isadora: **Sorry about the book, by the way. It’s a little banged up, but it’s the best I could do.

Farkle reaches for it, taking it in his hands. _Pride & Prejudice_. A well-worn copy of it, notes and annotations in the margins visible as he flips through it.

> **Farkle:** Cory didn’t give you a school copy?
> 
> **Isadora: **He did… but I’m pretty sure my mom lost it. _[ off Farkle’s snort ]_ She was all excited to enjoy some “truly classic literature” while endeavoring in her “cultured” stay with me, and I haven’t seen it since. So you get my personal copy instead.
> 
> **Farkle:** Oh, big honor.
> 
> **Isadora:** It is. There’s some genius analysis going on in those margins. Not many are so lucky as to get to experience it for themselves.

Farkle chuckles, taking a better look at some of the annotations. Then he manages a smile, holding up the book indicatively.

> **Farkle: **I’m sure your additions will make for an interesting read, if nothing else.

Isadora tentatively returns the smile, edging her way towards the door to go. She hesitates, spinning back around and asking Farkle if he’s busy Friday evening.

> **Farkle**: … I’m a freshly released mental patient who is basically on mother-ordered house arrest. So naturally, I’m booked solid.
> 
> **Isadora: **You’re not aware that I suck at sensing sarcasm, but I’m going to assume that was it. And if you’re not busy… what are your feelings on _Hamilton_?

**INT. SVORSKI’S CAFE - DAY**

Friday afternoon, end of break impending. Lucas is sitting alone at a table in the back corner, tapping his fingers nervously on the surface. There’s an iced drink in front of him, but he hasn’t touched it. Every time the cafe door bell jingles he jumps, looking towards the entrance and expecting to see someone important.

It’s always someone else. Lucas deflates after about the third repetition of this, slouching in his seat and dropping his gaze down to the drink in front of him.

The bell jingles again.

This time, it’s Asher pushing his way through the door. Lucas straightens up, swallowing and waiting for Asher to finish scanning the room and find him. He waves at him when they lock eyes, but it sort of looks like an anxious twitch.

Still, he gets the message. After a moment of hesitation, Asher cautiously makes his way through the cafe towards him. He keeps his hands in his coat pockets, on the defensive as he comes to stand at the table.

Lucas greets him, awkwardly standing as well. There’s an uncomfortable moment where they both look at one another, not sure what to do next, before Asher settles in the chair opposite him. Lucas takes that as his cue, dropping back down into his seat as well.

> **Lucas: **I got you a drink. _[ sliding the drink across the table ] _Peach lemonade. ‘Cause I know you like it. I didn’t add like, sugars or anything, because I wasn’t… well, I figured you would know how you’d want that. If any.

Asher glances down at the drink. He lightly touches the lid, running his fingers along it. Not saying anything.

Lucas stares at him, obviously wishing he would. At a loss for how to proceed tactfully, everything he wants to say tumbles out of him unceremoniously.

> **Lucas:** You were right to get upset. Okay? Believe me, I know that. And I promise, I’m going to pay you back for the bail money. And the hospital bill from my wrist, and… and like, all of it. I’m going to make the money and then I’m going to pay it back.
> 
> _[ Asher lifts his eyes, watching him uncertainly. Lucas trips over what to say next. ]_
> 
> **Lucas:** And I’m done with the stupid stunts. No more pulling Dylan into anything either. And I don’t know if I did any damage to your car – I don’t think I did – but like, tell me if I did and I’ll fix it. I’m going to – I’ll fix it. Tell me what you want me to do, and I’ll do it. I’ll do anything.

Still nothing. Asher is clearly listening, contemplative, but to Lucas it just feels like a wall. He grows more desperate, voice cracking and speech terse as he chokes on the emotion.

> **Lucas: **You’re my best friend._ [ a beat ]_ You’re my best friend, and I’m sorry that I fucked that up. And I know that… I know I can survive without you. Duh. I could do it, if I had to. But… I don’t want to. _[ shaking his head ]_ I don’t want to think about my life without you in it.

The air is heavy with the truth of his words. Asher quietly absorbs them, dipping his head down to look at the drink. A second of silence. Then another. Then another.

> **Lucas: **Okay, I know I just finished saying that you don’t owe me anything and I’m the one groveling but… could you please say something? Maybe?

A few more moments of silence that feel like an eternity. Then, Asher lifts his gaze to meet his. When his speaks, his voice is soft.

> **Asher, deadpan: **You could start by getting me a straw.

Not the most forthright of acceptances, but not a cold dismissal by any means. And humorous, in Asher’s own special way. Lucas laughs, more out of relief that he’s speaking at all.

> **Asher:** … I wasn’t kidding.
> 
> **Lucas: **Oh. Oh! Hold on –

Lucas gets up, grabbing a straw and sliding back into his seat. He waits as Asher unwraps the straw and sticks it into the lid, taking his time.

Before he takes a sip, he meets his eyes again. This time, some of the warm familiarity they share has reappeared.

> **Asher, quietly: **Thanks, meatball.

The nickname is more of a signal than any verbal acceptance of his apology. Lucas cracks another relieved smile, Asher mirroring it lightly as he takes a long sip of the lemonade.

Perhaps all is not broken beyond repair.

**EXT. MINKUS BUILDING - NIGHT**

Valerie and Isadora are walking Farkle back to his building post-_Hamilton_, raving about the show and keeping up a relatively consistent chatter. Isadora is doing more observing of her mother and former rival interacting than contributing, but it isn’t an issue this time. And she seems to be enjoying herself nevertheless.

As they stop outside his building, Farkle states that they didn’t have to walk him all this way. Isadora claims actually, they did, as it was part of the requirements for his mother to let him come along with them.

> **Farkle: **Yeah… thanks for inviting me. It was nice to get out of the apartment – think I was going a little stir crazy.
> 
> **Valerie:** It was our pleasure, truly.
> 
> **Isadora:** Surprisingly.
> 
> _[ Farkle narrows his eyes at Isadora. She matches the expression, causing him to crack and offer the ghost of a smirk. ]_
> 
> **Valerie: **And you’ll be going back to Triple A after this weekend, no? Suppose this could be considered a trial run of some sort. A dress rehearsal!
> 
> **Farkle:** Yes, well, that will be a spectacle all its own, I’m sure. _[ to Valerie ]_ Thank you, again. _[ to Isadora, with a nod ] _Isadora.

Isadora returns the nod, Farkle heading into the building through the revolving door. Valerie makes an expression at Isadora, raising her eyebrows.

> **Isadora, genuinely lost:** What?

Valerie raises her hands in surrender, although the amusement doesn’t leave her features. Isadora obviously wants to question her, but the more they walk towards the subway the more emboldened Valerie becomes. Before they descend down into the station, she pulls Isadora aside and states there’s something she needs to tell her.

The reason that she came to stay with Isadora for the break wasn’t just because of everything going on here – though that is part of it, and she’s happy to have been there for Isadora even if she can be a bit much.

> **Isadora: **Well, I wouldn’t say –
> 
> **Valerie: **Oh, don’t try to sugarcoat it. I’m a big celebrity, I can take my share of critique. And I know we aren’t perfectly matched. I can be a lot, certainly more than you’re used to. But we’re improving, aren’t we? Every day.

Isadora can agree with that much. Valerie goes on to explain that she’s been doing a lot of thinking, much contemplation, and part of the reason she came to stay the week was to test the waters of their dynamic in long terms. Because… she hopes to try and get back custody of Isadora so that she never has to deal with this foster care business again. That, and of course, they can be a proper mother and daughter.

Isadora is shocked. At her stunned expression, Valerie quickly begins to articulate all the thought she has put into it. Naturally, she would only pursue it if it’s something Isadora would want… and does she think, maybe, it’s something she would want?

The moments that Isadora hesitates feel unbearable. Then, surprising even herself, she speaks.

> **Isadora:** Yeah. _[ a beat ] _Yeah. It is. I would.

Valerie takes a moment to absorb it, realizing Isadora has said yes.

> **Valerie: **Yes. Yes!

Valerie takes her hands excitedly, then remembers her discomfort with touch and pulls back. But Isadora mirrors her excitement, choosing to link their hands lightly again. Valerie brightens, launching into all of the wonderful things this could hold for them. Sure, it will require changes, and further understanding of one another as they go, but they have time for that. They have all the time in the world to figure it out.

Regardless, they will have one another. Decisively, like never before.

* * *

**Song Cue ♫ ♪ “Stone” as performed by Alessia Cara || Performed by Isadora De La Cruz & Valerie De La Cruz**

Valerie launches into the song first, Isadora easing her way into the harmony. Their voices combine in a delicately powerful duet, accented beautifully with the scenery of Manhattan glittering in the night.

They make their way through the streets, somewhat dancing around one another but actually in step for once. Both of them are smiling as well, the true cause of how bright the evening feels.

* * *

**INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT**

Zay is grooving in his room to his own music, laying out and taking stock of all the auditions he went out for over break. He seems proud of himself, as he should be.

DONNA BABINEAUX knocks on the door, Zay stretching to turn down the music. She skims through the papers on his desk, asking what he’s been up to all holiday running in and out. He eagerly tells her all about the stuff he went out for, Donna brightening the more he discusses it. Once he concludes she exchanges a double high-five with him before pulling him into a hug, planting a kiss on top of his head until he manages to shrug away.

Still, Donna is far from oblivious. She innocently questions what brought on this sudden surge of ambition. Zay falters, just for a moment, then maintains his positive demeanor as he shrugs. He claims senior year is right around the corner. May as well start doing all he can to leave an impression.

For now, Donna leaves it be. She reiterates how proud she is of him one more time before telling him goodnight. Alone again, Zay glances at his desk spread again and another smile drifts onto his face. Settling on his bed, he reclines comfortably and shifts to looking at his phone, on instinct going to send a message to Charlie.

Once the message thread is open, however, he freezes. The searing reminder of the state their relationship is in hits him all at once, temporarily forgotten in the hustle of utilizing his spring break. So in some ways, his initial reason for setting out to break ground succeeded – only it hurts far more to return to reality than he anticipated.

His fingers hesitate over the keyboard, totally at a loss.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

As it turns out, Charlie is feeling the exact same way. He’s at his laptop, message thread open with Zay and trying to figure out what to say. Obviously desperate to say something, but not having any idea how he could.

The indecision will remain for a bit longer. He avoids it again, exiting out of the messages and returning back to his browser. A few of the tabs he had open at school are on screen again, giving us a better look at what he’s actually investigating.

Other arts schools. Transfer applications. The one on screen is for Haverford Prep, but it’s just one of many. It would require a whole other round of auditions all over again, but it’s clear for some reason, he’s putting the option on the table.

Charlie may not fix his problems at all.

He might run instead.

**INT. MINKUS HOME - DAY**

Farkle opens the door for one final visitor, expression going blank when he locks eyes with Maya. She returns his stare, more prideful in her stature, but clearly there by choice.

> **Farkle, stunned: **Maya.
> 
> **Maya:** … that’s my name, yes. So flattered you remember. _[ a beat ]_ Are you going to invite me in?
> 
> **Farkle:** Oh, uh… yeah. Yes.

Farkle steps back, but Maya hardly waits for him to move. She breezes past him, Farkle somewhat dazed and low energy and nowhere able to battle with her this afternoon.

She enters the living room with more familiarity than any of the other classmates, eyeing the cocoon that Farkle has built for himself on the couch. The reality of his situation dismantles her bold facade, and she only minimally manages to repair it.

Farkle asks Maya how her break was, and she claims refreshing. She fires back the same question to him, and he shrugs indicatively towards the dent on the couch.

> **Farkle:** I’m sure you can imagine.

She can. Silence settles between them, uncertain. Farkle breaks it first, launching into an apology with the same uneasy tempo as when he spoke to Charlie.

> **Farkle:** You have every right to be upset with me. For everything I did. You should hate me, and I would understand it. I should never have let my jealousy dominate my actions, and furthermore, expose a secret you meant to keep under wraps. That you shared with me in confidence –
> 
> **Maya, resigned:** I don’t care about any of that, Farkle.
> 
> **Farkle:** … you… you don’t. You don’t care. No?

Maya hesitates, inhaling a breath. She searches for what she wants to say, crossing her arms.

> **Maya: **The attempt to keep my… financial circumstances a secret was kind of a fool’s bet anyway. It had to come out eventually. And the video was far more embarrassing for you than me – I think we can agree you more than paid for that.

Farkle doesn’t look entirely convinced, but he doesn’t interrupt. He’s more consumed by how great it is to talk to her again, how it feels to be back on the same page in some shape or form. No longer outcasted from her life, at least for a moment.

> **Maya:** It was just… _[ tentative ] _I don’t have time to waste. I don’t have time to waste on people who aren’t worth the effort. And I thought – I’ve had my experience with people who don’t keep their promises. I’ve had enough of it, forever, and so when you couldn’t be there for me and then twisted everything around, even when you said… even when we agreed to drop the antics…
> 
> **Farkle, softly:** I know.
> 
> **Maya: **So I thought the solution was the same. The last time someone hurt me this way, they left, and that solved the problem. I never had to deal with them again because they were out of my life._ [ a beat ]_ Only I’m realizing that didn’t really solve anything. They’re gone, but the hurt is still there. Nothing about that situation is ever going to change, and it’s always going to hurt. Even with time.
> 
> **Farkle: **… but…
> 
> **Maya: **But… maybe, here, things could still change. If we make the right choices, better choices, then no one has to go. _[ unusually fragile ]_ I don’t want you to go.

The additional meaning behind the sentiment goes without saying. Farkle swallows, realizing that the ball in his court now. Maya’s opening the door for him again, conditions attached, and he has to demonstrate that he’s capable of the privilege. That he’s capable of change.

So he tries to communicate it, in the best form of communication they know.

* * *

**Song Cue ♫ ♪ “Thinking Of Him / I Miss the Music Reprise” as performed by _Curtains_ Original Broadway Cast || Performed by Farkle Minkus & Maya Hart**

A direct parallel to Farkle’s former performance in 204, he kicks off the soft duet with sincerity.

> **Farkle: **What was I thinking when I let you slip away? _[ a beat ]_ Oh, yeah…

He admits all the ways in which he was selfish or misguided in the past year, culminating in that emotional and vulnerable declaration (_“But why pretend? I missed the music, I missed my friend”_). As Maya joins in, she eases her way back towards him. Both of them end up on the couch, singing in harmony for the first time in what feels like ages.

Maya wraps her arms around his, gently resting her head against his shoulder. A smile slowly blooms across his face, and he allows himself to tilt his head back against hers.

_I choose the music I make with you,  
I love the music I make with you._

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Upon return to school from break, Jack is back in his office and going through all of the new correspondence and paperwork that has piled up.

Lucas appears in his doorway, lightly knocking. Jack lifts his gaze, waiting for an explanation without a word. Lucas holds up the community service form, all filled out.

> **Lucas: **Just needs your signature.

Jack nods, gesturing him in as he searches for a pen. Lucas waits patiently as he signs on the bottom to verify the hours, handing it back to him promptly. No praise, no congratulations. Just the expected transaction.

Lucas wasn’t expecting anything else. He folds the paper and starts to back out of the office, about to let that be that. But he hesitates, thinking about the past week and all of the other bold choices he’s had to make.

> **Lucas:** I know I messed up.

Jack stiffens, not expecting there to be more either. He pauses to listen, leveling his gaze to watch Lucas. He keeps his expression politely neutral.

> **Lucas: **Kind of seems like that’s all I do. And maybe it is. _[ a beat ] _But I’m going to try. I’m gonna make it right. I’m gonna make it up to you. I swear.

Lucas holds his gaze, not flinching away from the honesty. Meaning every word of it, and wanting it to be crystal clear.

Then he exits, not wasting another second. Jack stares at where he left, honestly not anticipating this earnest curveball. He has to blink to shake it off, the process of being emotionally removed no longer so plain and simple as it should be in theory.

He settles into his desk, aiming to distract himself via work instead. As he opens his desktop and goes to their email server, a message in his inbox seems to catch his attention. It’s from Evelyn Rand, school board member, and the subject line is a true attention-getter.

**“Did you see this?”**

Jack opens the email, skimming the message. From what he can tell, Evelyn has forwarded him a complaint that was filed with them over the course of spring break. It’s leveled against AAA, and the last line of her email stands out in particular.

_“They intend to go public with this, from what I understand. What are you planning to do?”_

Jack’s neutral demeanor is long gone. He frowns as he opens the attachment she’s sent, waiting impatiently as the compiled report on the complaint loads up. It’s a boisterous, flashy campaign against AAA for their “unfair enrollment procedures,” highlighting how personal favors and “special cases” gain coveted spots rather than hard-working, well-deserved, young talent willing to put in the effort and pay the price of admission.

It’s a smear tactic if there ever was one – filed by a very indignant family – but the tactic itself is hardly what causes the concern on Jack’s face. It’s the subject they’ve chosen to be their pièce de résistance, the perfect example of how “corrupt” and “unmerited” the current enrollment is.

**Lucas James Friar. **His school portrait staring back at Jack from the center of the complaint, promising to be the unwitting key talking point for what might very turn out to be an unpleasant and loudly public Bradford temper tantrum.

Break time is definitely over.

** _END OF EPISODE._ **


	14. Rarely Pure and Never Simple [ 2.10 ]

**Summary for the Chapter:**

> HONESTY, HONESTY – A return to Adams necessitates honest conversation. The junior class is encouraged to confront their emotions, an unusual advocate leading the movement. Blatant bruising send rumors swirling and classmates warring for a reluctant recipient.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )
> 
> **CHAPTER CONTENT WARNING:** discussions of domestic abuse; mentions of suicide. Take care of yourselves and read with discretion.

**INT. AUDITORIUM - DAY**

An unfamiliar auditorium, although equally as nice as the one at AAA. The space is less traditional and bit more airy and spacious, making CHARLIE GARDNER appear even smaller in comparison as he makes his way onto the stage.

In the audience, a sharp-dressed man with angular features and an inquisitive glare watches Charlie saunter onto the stage. This is AARON JACKSON (50s), the headmaster at Haverford Prep. Next to him, a couple of uniformed male students sit to judge as well. Included is BRANDON RIVAS, the boy who performed at the Jacob’s gala the year before.

Charlie gets to the front of the stage, almost tripping when he realizes his tap shoe is untied. He offers a nervous smile and quickly drops down to tie it, murmuring to himself to relax. Principal Jackson and Brandon share a tacit exchange.

When Charlie straightens up again, he puts on his most winning smile. Attempting to project confidence in spite of his off start.

> **Charlie:** I’m Charlie Gardner, and I’ll be performing “I Can Do That” from_ A Chorus Line_.
> 
> **Brandon:** Pretty difficult dance number. _[ off Charlie’s eye contact ] _You sure you can handle that? This is your _only_ audition.

Brandon glances down at his shoes pointedly. Charlie stands his ground, nodding.

> **Charlie:** I can handle it.

Challenge accepted. Principal Jackson signals for Charlie to begin whenever he’s ready.

* * *

**Song Cue ♫ ♪ “I Can Do That” as performed by _A Chorus Line_ Original Broadway Cast || Performed by Charlie Gardner**

Much like the song itself, Charlie starts off timid as he launches into the performance. As he warms up and gets into the groove though, the nerves wear off and that something special takes over instead -- the sheer passion that Charlie has for dance, how free it makes him feel even in the darkest of times.

And as promised, he pulls off some impressive tap dancing. It’s been a minute since Charlie has been given the chance to show off his skills, so it’s exciting and refreshing to see it again. The boy can _dance_, there’s zero doubt about that.

Haverford’s headmaster seems intrigued enough. He jots down some notes to himself, Brandon glancing at the page before turning his scrutinizing glare back to Charlie. For what it’s worth, however, he doesn’t seem perturbed by his good showing. There’s none of the competitive edge behind his expression that so often exists at AAA.

Speaking of former competitors, FARKLE MINKUS sneaks into the auditorium just in time to catch the latter half of the audition when Charlie is really getting into it. He watches with impressed amusement as Charlie taps up a storm, openly appreciating his classmate’s talent for the first time rather than worrying about what it means for him.

Charlie finishes up the number, out of breath but smile natural on his face. For a moment, he may have forgotten he was being judged. The spotlight beams down on him, capturing him in the glow of a successful performance.

* * *

Silence takes over as Principal Jackson finishes up notes. Then he lifts his gaze, nodding and thanking Charlie for the audition. He tells him they’ll be in touch. Brandon’s expression betrays nothing.

Farkle backs off and into the shadows again. Charlie nods, thanking them for their time. He makes his way off the stage, tap shoes clicking as he goes and echoing in the quiet.

**EXT. HAVERFORD PREP - DAY**

Farkle is waiting outside the building, awkwardly leaning against the wall and looking towards the parking lot. Charlie emerges, back in his regular shoes and carrying the taps in his hands.

He comes to rest against the wall next to Farkle, the latter asking how he felt about the audition. He shrugs, claiming it could have gone worse. Farkle questions if he really thinks he’d come to Haverford, even if he did get accepted. Is he really thinking about leaving Triple A?

> **Charlie, hesitantly: **_[ with a shrug ]_ Just… keeping my options open.

Yeah, clearly there’s more to it than that. Farkle can obviously tell, but he doesn’t push the issue further. After a moment and a drink from his water bottle, Charlie looks to him again.

> **Charlie:** Thanks for coming with me.

Farkle meets his gaze, seemingly unsure how to handle the gratitude. He manages an awkward but genuine smile, nodding. Then he pushes off from the wall, claiming they should get a move on. They’re already late, and Farkle has the feeling that Riley will finish his botched job and kill him if he misses any more of his first day back.

Charlie nods, the two of them jogging towards Charlie’s car.

** _Cue title sequence._ **

**INT. AAA - HALLWAY - DAY**

The bell rings, a sharp entrance back into the familiar hustle and bustle of Adams. Farkle is a bit off his game as he reinserts himself into the scenery, flinching as younger students rush past him and wincing at some of the loud chatter in the hall. Still, for all intents and purposes, he seems glad to be back.

That is, until he makes it to his locker. Riley’s passion project is there on display, his locker door and the floor around it decorated and laden with notes, well wishes, small flowers and gifts from the collective student body. RILEY MATTHEWS is there waiting for him as well, an encouraging smile on her face as he approaches.

> **Riley: **There you are! We were worried when you weren’t in home room this morning._ [ a beat ]_ Are you feeling okay?
> 
> **Farkle: **Just had an errand I had to run. What’s all this?
> 
> **Riley:** Oh, just a little something the student body put together. A welcome back, you know. There’s a lot of nice stuff._ [ eagerly ] _Isn’t it nice?
> 
> **Farkle, flatly:** Oh, yes, super nice. I can’t even open my locker because all of this shit is all over it.

Not the reaction Riley was expecting. She watches with a grimace as Farkle pushes some off the items off the door haphazardly in an attempt to get the thing open, though he doesn’t seem upset about it. Blunt is better than in bad spirits, right?

MAYA HART floats up to join them, sarcastically welcoming Farkle back into the madness. Then her eyes light up, reaching for a package taped to the locker.

> **Maya: **Ooh, chocolate. Thank you very much.

She takes it for herself, Farkle making no objections. It’s an odd reception, but perhaps all things with Farkle are destined to be odd from here on out -- or, at least, odder than they already were. The three of them discuss the notion as they walk to the black box, Farkle blithely wondering if they think there will be any sort of thinly veiled educator fanfare for his grand return.

> **Riley: **Well, I don’t know if --
> 
> **Maya: **Without a shadow of a doubt. It’s an inevitability.
> 
> **Farkle: **Peachy. Chocolate?

Maya hands him one from the bag, Farkle popping it into his mouth like a pill. As they march past and out of frame…

**INT. AAA - JACK’S OFFICE - DAY**

JACK HUNTER doesn’t have nearly Farkle’s level of cool, in a clear state of stress as he leans over his desk. He’s going over materials from the Bradford civil suit, a flurry of papers scattered across his desk.

He doesn’t look like he’s gotten much sleep. The school photo of Lucas stares back at him from one of the pages, a reminder of his unwitting involvement. Jack curses to himself, loosening his tie so he feels like he can breathe.

This cannot go public. This cannot blow up. It can’t.

ERIC MATTHEWS pokes his head in, knocking lightly to get his attention. Jack jumps, straightening up and asking what’s going on. Eric states that the A class is meeting for their first full class period, if Jack wants to be present when they give the assignment for the week.

Jack nods, pulling himself together and assuring Eric that he’ll be along in a minute. Eric eyes him curiously, obviously aware that Jack isn’t acting like his normal, level-headed self. But Jack doesn’t seem keen to discuss it, so for now he leaves it be.

Much else to focus on at school this morning anyway.

**INT. AAA - BLACK BOX THEATER - DAY**

The A class is assembled in the desks, the techies doing their usual routine of sitting on the desks rather than in the chairs. This makes Lucas’s absence all the more noticeable. Riley glances over her shoulder towards them, frowning when she doesn’t find who she’s looking for.

HARPER BURGESS is at the front with Eric, Jack, and SHAWN HUNTER. As she explains once she’s gotten their attention, this week is going to be an especially important lesson. Eric will be assisting as they explore a week of attempting Full Honesty.

The class, unsurprisingly, is not enthused.

> **Yindra:** Didn’t we already do this lesson when Valerie De La Cruz was here?
> 
> **Nate: **Yeah, haven’t we done this like five times already?
> 
> **Shawn: **Well, Nathaniel, you’d think if we’d done it so many times then you would have at least one high grade to show for it.

The techie boys crack up, needling at NATE MARTINEZ with “_oohs_.” JEFF MONROE elbows him, which he swats away as he rolls his eyes. DAVE WILLIAMS smiles.

> **Dave: **Sick rebuttal, Mister Shawn, sir.

Shawn cheekily salutes him, allowing Harper to take the stage again. She clarifies that while Valerie did initiate a similar lesson, that was more about emotional authenticity when it comes to performances. This week, she and Eric are hoping for the focus to be more about emotional _health_, worrying not about how the performances appear on the outside but more about choosing to work on and be open about the things that are troubling them on the inside.

> **Eric: **We’ve had a lot of conversations in the last couple of years about truth and honesty and the things we share with one another. This isn’t the kind of honesty the Confessions page promoted, but it’s not the authenticity Miss De La Cruz was referring to either. This is… the harder work, the stuff that maybe we don’t want to address, but is of the utmost importance that we do.
> 
> **Maya: **And why is this becoming a focus… now?
> 
> **Farkle: **Because of me.

The class goes quiet, all eyes shifting to Farkle sitting at the corner of the room next to Maya. He’s calm, unbothered as he accepts responsibility for the reason they’re suddenly quite gungho about pushing emotional vulnerability. The reminder of his presence and why this lesson might be so is enough to quell the jabs about it.

Still, the faculty doesn’t want to appear _that_ transparent. Eric tries to cover.

> **Eric:** Well, I wouldn’t say it’s because of any one student. There’s been a lot going on this year, for everyone, and we just thought it might be wise to remind everyone of the importance of --
> 
> **Farkle:**_ [ raising his hand ] _Mister Matthews. If I may?

What’s Eric going to do, say no? He awkwardly coughs and then steps back, gesturing for Farkle to take the reins.

And take them he does. Farkle rises from his seat and joins the faculty at the front of the room, standing in front of them and addressing the class.

> **Farkle: **Let’s just start by harpooning the elephant in the room so we don’t have to deal with the dancing on eggshells for the rest of our forsaken time at Triple A together. Yes, I tried to kill myself. No, it didn’t work, so you’re all still stuck with me. And yes, somehow, I’m pretty sure -- like ninety percent -- that I’m grateful for that. And despite how poorly constructed the mythos around this lesson is to make it _not_ about me, I, for one, am in full support of the concept.
> 
> **Sarah: **Seriously?
> 
> **Farkle: **Oh, suicidal serious, Sarah Carlson. _[ off her discomfort ] _The fact of the matter is that while it’s treacly and forced, Mister Matthews and Miss Burgess are right. I’m not positive it would have changed the course of events -- only an experiment with repeated trials could prove that, and unfortunately that’s near impossible to achieve -- but there’s a good chance that had I been less constricted in my own head and had the chance and courage to talk about the things I was feeling with the right people, certain tragic choices could have been curtailed.
> 
> **Eric:** Yes, that’s great, Farkle. Thank you.
> 
> **Farkle: **The experience did open my eyes, and it’s given me a change of heart. Considering the conceit of the lesson this week, and I think now is as good a time as any to announce it. _[ with blunt flourish ] _I’ve decided that, in the spirit of not bottling things up, I am going to be one hundred percent honest about absolutely everything I am thinking and feeling from now on.
> 
> **Zay:** Oh no.

Oh yes. Farkle is going to be _quite_ vocal from now on, and this week is apparently only just the start. Eric thanks him again, gently encouraging him to wrap it up.

But he’s not ready to wrap things up -- in fact, he’s just kicking things off. In honor of honesty policy week, he’s ready to lead the charge.

* * *

**Song Cue ♫ ♪ “Hard Times” as performed by Paramore || Performed by Farkle Minkus (feat. AAA Juniors)**

Farkle smoothly eases into the disarmingly upbeat cry for help, delivering a strong start for the kind of emotions they should be attempting to grapple with during this week. It also goes to show that while the emotions might be heavy, the _songs_ sure don’t have to be. The expression of their feelings comes in whatever form they choose, and this time Farkle has opted to be bouncy.

It’s fun enough to pull the rest of the A class into the number as well. Certainly they can all relate to the notion of hard times, considering the year they’ve had.

**INT. AAA - HALLWAY - DAY**

There’s also a definite joy to seeing the group of them perform together with how wild the season has been thus far. To see our juniors jamming out and grooving through the halls, with Farkle leading the charge, is the best thing we didn’t know we were missing.

**INT. AAA - AUDITORIUM - DAY**

As Farkle launches into the slower bridge, he makes his way along the shadowy back wall of the stage, caught between that and his shadow being cast against the translucent traveler curtain.

When the song bursts back into the chorus, he emerges back onto the stage with his dancing classmates. The techies are included as well, Jeff being one of the few to do a solo in the midst of the circle. From the wings, the faculty seem pleased with how this week is kicking off.

ZAY BABINEAUX finishes the dance for the class as he drops into a split with the ending chord.

* * *

**INT. AAA - HALLWAY - DAY**

Black boots stomp their way through the halls, a spectacle that hasn’t been spotlighted since the return for junior year so many months ago. As they make their way through, other students glance in their direction and then quickly avert their gaze. It’s clear that whatever they’re seeing, it’s not necessarily a pretty sight.

And soon enough, it becomes clear why. LUCAS JAMES FRIAR has finally arrived at school, sporting a fresh black eye and a couple other stray bruises just barely peeking out from under his clothes. He’s got a stormy attitude to match, any levity from the spring holiday long gone.

He catches a gaggle of sophomore girls eyeing him warily, scowling.

> **Lucas: **What?

They quickly look away, whispering to one another. Lucas rolls his eyes, marching onward and stuffing his hands in his pockets.

He storms right past Riley, who spots him but is rendered speechless when she sees his current state. Her jaw drops as he marches away, obviously struggling to accept what she just saw.

Once she does, however, it doesn’t take her long to take action.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley is in a fury, pacing with her arms crossed over her chest. She’s shaking, voice louder than usual when she manages to speak.

> **Riley, fiercely: **Someone needs to _do_ something about this!

Eric is the recipient of her complaints, Jack also present and hanging back behind his desk. Seated in the chair opposite Eric’s desk is ISADORA DE LA CRUZ, also concerned but not to the degree of Riley where she can’t sit still. It’s a result of being jaded, of having already seen this exact scenario play out more than once.

Eric assures Riley that they’re well aware of the problem, in fact Grace called in to his office earlier this morning to vaguely explain that Lucas would be late to school because of it.

> **Riley: **She told you what happened?
> 
> **Eric: **She informed me --
> 
> **Jack, irritated: **All she said was that it was an “accident.” She promised he would be at school before third period.
> 
> **Riley:** An accident? Did you see him? _That’s not an accident!_

Unfortunately, she’s preaching to the choir. Eric gently requests that Riley try her best to calm down. Isadora reaches and touches Riley’s hand, giving her a grounding look. Riley takes a deep breath and brings her anger down a couple of notches, remaining patient while Jack and Eric give their side of the story.

It’s not all that helpful, though, and not at all promising. Eric carefully explains the procedures that they have in place within the school for situations like this -- of course, if they even suspect child abuse or neglect of any kind, they are by law obligated to report it to the appropriate resources. Not that they’d need a law to do so, they’re always quick about it when it comes up.

However, as Jack bitterly points out, all the power they have is to elevate the complaint. After that, it’s out of their hands, and the other channels handle the investigation and prosecution of each report. There’s a lot of unnecessary red tape and bureaucracy around this sort of thing, and although they’ve elevated complaints about Lucas’s situation multiple times in the last three years, nothing ever comes of it.

> **Riley: **How is that possible?
> 
> **Eric: **A lot of reasons --
> 
> **Isadora: **A lot of bullshit reasons.

Eric doesn’t seem as though he disagrees. Jack scoffs in what might be agreement.

> **Eric:** The biggest pitfall is lack of substantial “evidence,” as is often the case in crimes of abuse. It doesn’t help that Lucas has a behavioral record, so it’s all too easy to attribute the injuries to fighting, or recklessness --
> 
> **Riley: **But that’s not what it is. We _know_ that’s not what it is.
> 
> **Eric: **But it’s easy to say it could be. It’s easy to create doubt, and that’s all it takes to create a stall in the process. No one wants to be the person to convict an innocent man of abuse, bizarrely so, to the point that thousands of abusers walk free because of it.

Isadora looks like she’s going to be sick. She shakes her head, dipping down to stare at her shoes. Riley is chewing the inside of her cheek, expression still burning.

> **Jack:** Every time we’ve attempted to move forward on Lucas’s case, there’s always an excuse as to why it wasn’t worth pursuing further. Especially given the fact that Kenneth is a beloved faculty member at Quincy High.
> 
> **Eric:** The problem is that the most compelling piece to any sort of case like this is testimony, and we don’t have that. We never have.
> 
> **Riley: **They didn’t take Lucas’s?
> 
> **Eric, delicately:** Lucas hasn’t given one, Riley. He’s never explicitly discussed the nature of his relationship with his father.
> 
> **Jack: **Not for lack of trying.
> 
> **Eric:** And the only other person who could accurately speak on it is Grace, and…

Not gonna happen. If Lucas won’t even talk about it, Grace, who is actively trapped in the situation at all times, is a moot point. The system is perfectly built in Kenneth Friar’s favor -- so long as there’s just enough plausible deniability, it’s never going to get far enough for anything to change.

It’s a cold reality to swallow, and Riley doesn’t seem ready to accept it. Her eyes are glossed over, and she’s clenching her jaw so tightly she might crack a tooth.

Eric frowns. Obviously wishing he could say something to make it better, only in this particular instance, he’s out of solutions.

> **Eric: **We will do everything we can. We always do.

And yet. Riley shakes her head, voice cracking.

> **Riley:** That’s not good enough.

She tears herself from Isadora and rushes from the room, the door swinging open behind her. Eric sighs, hiding his head in his hands. Isadora gives him a sympathetic look, Jack seemingly equally as frustrated as Riley as he goes to steady the office door.

**INT. AAA - CAFETERIA - DAY**

Zay and Maya are seated at lunch with YINDRA AMINO and NIGEL CHEY. They’re discussing the lengths of the assignment this week, Yindra stating that she’s not sure what they hell they expect her to talk about.

> **Yindra:** It’s like, cool, I totally get what the vibe is. I’m all for the kumbaya emotional exorcism thing. But I’m not sure what I’m supposed to contribute when I genuinely don’t feel like I have anything to angst about right now?
> 
> **Zay: **Suppose that makes you lucky.
> 
> **Yindra: **I mean, I guess I could make something up about how so very hard it is loving women, but then I would have to act like it’s something I’m ashamed of.
> 
> **Nigel: **I think I’m just gonna read an excerpt from one of the plays I’ve written.
> 
> **Maya:** Are they that tragic?
> 
> **Nigel:** No, but sharing them out loud might be the most painful thing I ever do. Especially in front of trigger happy critics like --

Farkle Minkus? Maybe so. As if on cue, he glides over to the table and comes to stand at the head, greeting the crew of them. He declares he’s starting off his honesty tour with them.

> **Zay:** Oh, so you’re literally _targeting_ us. It’s not just… whatever comes to mind in the moment, you’re going out of your _way_ to speak your mind.
> 
> **Farkle: **When you die, Isaiah, many things become crystal clear all at once.
> 
> **Maya: **You didn’t die, honey.
> 
> **Farkle: **What I realized is there are a lot of things that I wanted to say to my fellow classmates but did not get the chance to. Or would not have, had things unfolded differently. Thus, I think it’s important I say them now.

And say them he does. The four of them listen cooperatively while Farkle says his piece, talking to each of them in turn.

> **Farkle: **Yindra, I think you should know that I respect you very much. When I used to lash out at you for correcting me for demonstrating my privileged ignorance, I was merely acting out of defense and should have been more willing to listen to your wisdom. I’ll be sure to do my best to remedy that from here on out.
> 
> **Yindra:** … thank you?
> 
> **Farkle: **And Nigel, in spite of the semester I spent in freshman year hiding your dance shoes in the ceiling tiles --
> 
> **Nigel: **That was you?
> 
> **Farkle: **I do consider you quite the impressive acteur, specifically when it comes to the spoken word. In fact, the only reason I did those things was because you were worthy of being considered a threat, and as we’ve surmised, I don’t do well under pressure.
> 
> **Nigel:** … so now you’re going to stop, yes --
> 
> **Farkle: **And Zay. Dear, dear, Isaiah Babineaux.
> 
> **Zay: **Don’t call me that.
> 
> **Farkle: **I don’t have to tell you you’re the best dancer in the class, because I know you already know. But I just did anyway, so you’re welcome. Although I still find your holier-than-thou personality irritating, I will admit that you likely are, in fact, holier than me, so I suppose the behavior is warranted. Also your current ensemble is an assault on the eyes --
> 
> _[ Zay frowns, glancing down at his clothes. ]_
> 
> **Farkle: **But that’s never stopped you before, so I guess at this point I will just have to add it to the list of things about you I begrudgingly respect. Finally, Maya Penelope Hart…

Maya locks eyes with him, raising her eyebrows. Farkle hesitates, trying to decide what he wants to say.

> **Farkle: **Well, you and I know where we stand.
> 
> **Maya, with a smile: **Mhm.
> 
> **Farkle:** Yes. Well. That’s all I have to say for now. Thank you for listening, and I appreciate your future tolerance as we continue to coexist in the walls of Adams for another year and a half. _[ with a sigh ] _Truly, it feels nice to speak freely. I really do encourage you all to take the lesson seriously and give it a try.
> 
> **Yindra:** Oh, I’ve got a couple of things I think I could say right now.

Farkle bows slightly, sauntering off. Yindra and Nigel exchange a look, memorializing yet another _what the fuck_ moment at AAA.

Zay throws the conversation back to the topic at hand. He admits similar hesitation to the others, that he’s not even sure what he would be willing to emote about with the class. Maya shrugs, nonchalantly claiming that she has nothing to share because she has nothing to hide. There’s nothing she’s burying down deep -- she’s an open book!

Yeah, we’ll see about that.

**INT. AAA - AUDITORIUM - DAY**

The techies are assembled in the back of the auditorium in their usual post, ASHER GARCIA and DYLAN ORLANDO standing in front of the seats and leading the conversation. They’re discussing the delicate situation with Lucas, suggesting that the best thing any of them can do is just treat him as if everything is normal and not make a big deal out of it.

> **Asher:** If we treat him any differently, it’ll just make it worse. You know how he feels about pity, and even well-meant sympathy is just going to come across as belittling to him right now. We have to tread cautiously.
> 
> **Jeff:** Are you sure we shouldn’t like… do something?
> 
> **Dylan: **What did we _just_ say, Jeffrey?_ [ pointing to his ear ] _Listen!

Jeff makes a face, exchanging a look with JADE BEAMON. She pats his arm reassuringly.

> **Asher: **Believe me, we want to. Every time this happens we think we should do something, but the options aren’t great.
> 
> **Nate:** And doesn’t matter much if he doesn’t want to hear it.
> 
> **Asher:** The best thing that we can do as his crew is just treat him exactly the way we would any other day. He values normalcy, so that’s what --

Dylan nudges Asher’s arm, nodding towards the booth where the door has opened.

> **Dylan:** He’s coming. He’s coming. Shut up. No one speak. Don’t say anything.
> 
> **Jade:** I thought we were acting normal --
> 
> **Dylan:** SHH.

They assemble themselves into a semblance of casual as Lucas descends the steps, clearing their throats. Dylan offers a bright beam as he comes down to the last step, at eye level with them.

> **Dylan:** Hey, bud! We were just chatting. Just having a good morning catch up. A good old-fashioned _salon_, I think, as they used to call it.
> 
> **Asher, quietly: **That’s… not what a salon is.

Quiet settles over them, smiles still on tight. Lucas looks at all of them, then back to Dylan. He narrows his eyes.

> **Lucas:** Why are you being weird?
> 
> **Dylan:** … I’m always weird. :)

Hard to argue with that. Lucas shakes his head, heading off towards the stage. Dylan looks over his shoulder and watches him go, then turns back to the group with a grin. He gives them a thumbs up. Asher pinches the bridge of his nose.

**INT. AAA - BLACK BOX THEATER - DAY**

Harper has pulled aside Zay and Isadora, meeting to discuss an upcoming opportunity for them. She hands both of them a flyer, expressing that there’s a special student mixer coming up this Wednesday county wide for arts students. It’s similar to the Jacob’s gala, although pointedly less gauche. Less about showing off, more about giving certain students the opportunity to mix and mingle and build connections.

> **Isadora: **And why pick us? Feel like this is something Maya would be chomping at the bit for.
> 
> **Harper: **Well, unfortunately for her, Maya is as white as they come. _[ tapping the flyer ] _Artists of color. That’s the focus.

Oh, that clears things up! Harper has already talked to the other students she wants to send for AAA, but she’s got two slots left and thought they would both be good fits. With Zay trying to build his network and Isadora venturing into the world of performing more seriously, they could both greatly benefit from the experience.

Definitely something to consider. Isadora and Zay thank her, Harper giving them a proud smile.

**INT. AAA - HALLWAY - DAY**

Once they’ve escaped into the hall, Isadora seems less enthused about the prospect. It’s a nice thought, sure, but she’s never been great at social gatherings. Particularly when she doesn’t know anybody else.

> **Zay:** Okay, you do know me.
> 
> **Isadora:** Well, yeah, but we don’t really like…

They’re not exactly _friends_. There’s no good way to say that, though, so Isadora just lets the sentiment remain unfinished. Zay shrugs.

> **Zay:** Look, this is a good opportunity. If you are serious about performing, like at all considering it, then this is exactly the kind of thing you should be going out for so that you _don’t_ feel like you don’t know anyone else in the network aside from Maya. And believe me, I know knowing Maya feels like knowing five hundred people at once.
> 
> **Isadora:** I guess.
> 
> **Zay: **There’s no harm in at least going and checking it out. And hey, if it gets too overwhelming, I promise you can stick by me. I’m an excellent socializer, so I can act as a wingman of sorts.

Isadora smirks at his theatrical cockiness, somewhat amused. Still, she’s a bit suspicious.

> **Isadora: **Why are you being so cool with me? Especially since I just finished unceremoniously declaring we weren’t friends.
> 
> **Zay:** Well, A) being the cool one is sort of my whole vibe. And two… I figure you and I have both had our fair share of feeling like we’re drifting alone. _[ a beat ]_ This way, at least we can march into things with backup.

He gives her a nod, walking ahead towards class. Isadora absorbs this, looking down at the flyer again with more consideration.

**INT. GARDNER HOME - DINING ROOM - NIGHT**

The Gardner family is gathered for dinner, seemingly back to their typical rapport unlike the last time we were sat at this table. ELEANOR GARDNER shifts the conversation to Charlie’s audition, which seems like news to ROSAMUND GARDNER and DAISY GARDNER.

> **Rosie:** You’re switching schools?
> 
> **Charlie:** No.
> 
> **Daisy:** But you’re thinking about it.
> 
> **Charlie: **Yes -- no. It’s not-- did I ask you?
> 
> **Rosie:** Why are you switching schools?

Yes, Charlie. Why _are_ you considering switching schools? Eleanor saves him from answering, jumping back into the conversation and giving him a proud beam. At the opposite end of the table, AMBROSE GARDNER seems more thoughtful.

> **Eleanor:** I think it’s wonderful that Charlie is keeping his options open. It’s always good to be mindful of ways that you can improve yourself and stretch your potential. Sometimes a change of scenery is the exact way to do that.
> 
> **Ambrose: **Are you sure you want to transfer in your last year, kid? I mean… senior year and everything, that might be a big leap.

Charlie looks to his dad, processing his words. He admits he still needs to give it a lot of thought… but what does Ambrose think he should do? The question seems to catch his dad off guard, so he deflects from such a big question and suggests helpfully that Charlie pray on it.

If God were listening to Charlie’s prayers, he figures he wouldn’t be in this situation. But the advice is well-meant. Charlie offers a weak smile, focusing back on his food.

**INT. JACK’S APARTMENT - NIGHT**

Jack has spread out his work across the kitchen table, in the same harried state he was at school. Only now the pressure is on, because the way Lucas showed up to school today is a cruel but timely reminder of just how important it is that he doesn’t let this Bradford complaint escalate.

Still, he feels stuck. All he can do to appease them is bend and break the rules for Missy, and the consequences of setting a precedent like that might cause more disaster. He’s caught between a rock and a hard place, and he cannot find the clever way out.

ANNE MARIE WINTHROP enters the kitchen, commenting in concern that Jack hasn’t even touched his dinner. She comes over to join him and rubs his shoulders, wondering what’s got him so worked up and if there’s anything she can do to help. She may not be an educator, but she is a lawyer. They’re strategists, if nothing else, so perhaps she can offer some assistance.

A fair point, but Jack still shies away from discussing it with her. He starts to gather up the papers, covering the pages with photos of the students. He claims it’s nothing for her to worry about, he’ll figure it out in no time.

Anne Marie doesn’t seem convinced, but she reiterates the offer of help if he needs it. She lingers in the doorway, suggesting he not stay up too late before leaving him alone. Jack lets out a sigh, running a hand through his hair.

**INT. RESTAURANT - NIGHT**

Isadora is having dinner with VALERIE DE LA CRUZ, once again staying at her favorite hotel for some time in the city with her daughter. It’s almost as if she spends more time in New York than LA at this point.

When Isadora tells her about the student mixer, Valerie is quite excited about the matter. She expresses the invaluable opportunities there are in finding like-minded fellow artists who also share certain identities, as there will be some things in the industry she’ll face that Maya or Farkle will not be able to relate to or fully understand. After all, she can sure speak to that!

Also, it’s never a bad idea to flex the networking muscle.

> **Valerie: **When I was just starting out, I firmly believe my path would’ve been very different had it not been for the birthday party I attended for a young Solange Knowles. It was there that me and darling Beyoncé Giselle truly hit it off, and as we know, the rest is history!

Isadora makes a face, clearly familiar with the whole star-studded story. Valerie promises that when they have more time together, she’ll give her all of her best networking tips. It’ll be like a cute, mother-daughter network boot camp!

> **Isadora, deadpan:** Sounds like every daughter’s wildest dream.

Valerie has gotten better at reading Isadora’s sarcasm -- she gives her a wink and lightly kicks at her under the table. As the conversation sort of naturally drifts in that direction, the two of them get to discussing what exactly their future might be.

Excitedly, Valerie explains her whole plan to Isadora. She has a timeline for her engagements with the courthouse to work out the arrangements, and she just has a few minor details to square away before they can truly hit the ground running. But once that gets tidied up, they’ll be on their way.

She reaches across the table, taking Isadora’s hands and practically brimming with enthusiasm. It’s going to be amazing, Valerie declares. It’s going to be the exact thing they’ve both always been missing.

Valerie has been unreliable before, but this time, it seems like Isadora is willing to believe her. As scary as it is, she’s willing to let her guard down and believe that things could work out.

* * *

**Song Cue ♫ ♪ “Clued Up” as performed by Little Mix || Performed by Isadora De La Cruz (feat. Dylan Orlando)**

As the guitar acoustics float in…

**INT. AAA - AUDITORIUM - DAY**

Isadora is on a stool in front of the class, stepping up next in terms of honest performances. She’s keeping it simple, nothing but her vocals and Dylan backing her on guitar.

For her, the adherence to the assignment comes from being so openly optimistic. To declare that she’s determined to make the best of what she’s got, in front of classmates that could use that positivity to tear her down, is a big step for her. Also, the ease with which she delivers a solid vocal display is a testament to how far she’s come as a performer in the span of a few months.

And she’s definitely making an impression. Maya is nodding along with a proud smirk on her face, and even Farkle seems pleased by the rendition. Harper and Eric watch proudly, and Shawn doesn’t look bored which is compliment enough. Despite her tumultuous emotional state, Riley is managing a smile too.

When she wraps up and the class bursts into applause, Isadora lets out a relieved exhale. She glances over her shoulder at Dylan, who gives her a wink.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Farkle is back at the front of the black box again, in the midst of a grand speech. Focus stays on him, although he’s clearly addressing a rather large group.

> **Farkle: **So, yes, I simply wanted to say that you are valued. Although I often ignore your very existence and admittedly forget you also attend this school, I acknowledge that you all have talent and potential that perhaps we’re overlooking. And it’s a shame that I and my classmates so often outshine you all for roles and opportunities -- though, to be fair, I think that does come down to talent above all else, and there’s no way to predict how those scales will tip -- but I do hope you all recognize your own worth. You. Have. Value. Most likely. I’m not sure, I… actually don’t know many of your names. But they probably have worth. _[ a beat ] _Well, that’s all I had to say. Thank you for your time, junior B class.

Farkle gives the fabled B class a blithe wave, sauntering out of the room. We still don’t see them.

**INT. AAA - ERIC’S OFFICE - DAY**

The tone is decidedly less flippant in Eric’s office, where Eric is attempting to have a conversation with Lucas. It’s clear that this is not the first time they’ve had to have a meeting like this in the past three years, but it seems to be going about as well as any of the ones before. Lucas isn’t budging, remaining his typical level of aloof and definitively closed off.

But Eric isn’t just letting it drop. It’s impossible to, when he’s staring at a kid so obviously… _battered_. And that’s just what they can see. Regardless of how bad it is in the grand scheme of things and no matter how much Lucas downplays it, just looking at him feels like a siren going off. And Eric can’t just ignore it.

He does his best to make his case, softly stating that they just want to help him. That’s all any of them want to do, and they’re already doing everything they can. And of course Eric respects Lucas’s autonomy to make whatever decisions he feels necessary, that’s the most important thing, but… there’s only so much they can do without his cooperation. If he could just talk to him, give him anything, then maybe they can truly help.

For a moment, it seems like Lucas might be contemplating it. Then he shrugs, maintaining his neutral demeanor.

> **Lucas:** Energy appreciated, but I can take care of myself. _[ a beat ] _Have for this long.

Eric struggles to hide his disappointment. It’s tough, knowing exactly the factors that are keeping a person from speaking their truth, but not being able to do anything to change them.

> **Riley, pre-lap:** If he could just… say something. Anything.

**INT. AAA - PROP LOFT - DAY**

Riley is pacing the small confines of the prop loft, restless but deep in thought. It’s obvious she hasn’t stopped thinking about Lucas. It’s going to drive her insane.

Asher is leaning against the prop shelves, Dylan seated against their wall. They share in Riley’s concern, but they, like Isadora, are more resigned to the way things are. While seeing the reality of Lucas’s situation is brand new for Riley, it’s not the first time for the two of them.

> **Riley:** If we can convince him to give any sort of credit to it, then my uncle can work something out. I know he can. So maybe… I don’t know, if maybe we all --
> 
> **Asher: **We agree. Really, we do. It’s not like we haven’t tried.
> 
> **Dylan:** But it’s hard enough to get Lucas to talk about like… normal things. One time I asked him what his favorite type of cookie was, and he told me to respect his privacy. He doesn’t even know that’s a meme, he just meant it.
> 
> **Asher: **And honestly, we don’t even know for sure that’s it happening the way we think it is. I mean, yes, we _know_, but we can’t _say_ we know for sure because Lucas hasn’t told us. He’s never talked about it in the whole time we’ve been friends.
> 
> **Dylan:** Even when it feels glaringly obvious.

Another dead end, same as Eric’s. Riley rubs her face, trying her best not to cry. Asher and Dylan share a tacit exchange, then Asher looks sympathetically to her.

> **Asher: **We’ll keep trying. Sometimes that’s all you can do.

Riley lets out a sigh and nods, even though she doesn’t want to accept it.

**INT. AAA - AUDITORIUM - DAY**

Isadora is handling stage clean-up for the afternoon, hoping to regain some good favor with the techies. Farkle enters and spots her, claiming he’s glad he caught her as she’s just the person he wanted to see next on his honesty tour.

> **Isadora, sarcastically: **Oh, joy.
> 
> **Farkle: **Think you should appreciate a bit of brutal honesty -- you’ve never shied away from it yourself.
> 
> **Isadora: **Okay, okay.

Isadora drops the acting block she was carrying, placing it between them. She steps up onto it so that they’re closer to the same height, Farkle raising his eyebrows.

> **Isadora:** If you’re going to criticize me, I’d rather be looking at you rather than up at you. Don’t need to give you any falsely perceived superiority.
> 
> **Farkle: **Trust me, I believe the superiority ship has long since sailed.
> 
> **Isadora: **Go on, then. _[ crossing her arms ]_ Let’s hear it.

Farkle clears his throat, clasping his hands together and straightening up.

> **Farkle:** There are three things I’d like to say to you.
> 
> **Isadora: **I can hardly wait.
> 
> **Farkle:** For starters -- though I doubt this is much of a secret -- you drive me insane.
> 
> **Isadora:**_[ with a flat gasp ] _No?
> 
> **Farkle: **Yes. I’m willing to bet a sizable fraction of my familial wealth that a portion of my medically diagnosed insanity is dedicated solely to you and all of the brusque commentary you have sent in my general direction in the last three years. I find you abrasive, and stubborn, and so obsessed with the need to be right that you would literally cause a metaphorical earthquake and level an entire production if it meant rebuilding it more suited to your personal vision.
> 
> **Isadora:** Well, if it’s better for it, then I don’t see the issue.
> 
> **Farkle: **That being said… I do respect you. Perhaps for exactly those reasons, I can’t say I know why. And in spite of all of the above, I wanted to thank you for the way you treated me this past semester. That’s two. You approached me with humanity, even when I was being particularly monstrous, and then continued to treat me as you would in any other case even in the aftermath. It has been refreshing, to say the least.
> 
> **Isadora:** … well, it was nothing.
> 
> **Farkle: **Quite the contrary, but I won’t argue you on it. I don’t have hours to spare trying to convince you you’re wrong when I know you won’t ever admit to it.
> 
> **Isadora: **Okay, are we about done?
> 
> **Farkle: **Almost. Third…

Whatever Farkle was going to say, he loses it. He examines Isadora and then somehow gets lost in it, losing his train of thought as he takes her in. Knowing it was about that, about that very notion of how it feels when he really looks at her, but the words don’t exist to articulate it. Or they do, but he hasn’t figured out what they are.

His expression grows softer, tempered by that… whatever it is he’s feeling, and the bout of confusion. Isadora holds his gaze, waiting for the final snide remark. When he doesn’t speak, she narrows her eyes and gives him a look.

> **Isadora: **Yes?
> 
> **Farkle:** Um…

Farkle swallows, scrambling to save face. He decides to redirect, glancing down at where she’s standing on the acting block.

> **Farkle:** Your shoe is untied.
> 
> **Isadora: **Huh? _[ looking down ] _Oh.

Isadora hops down off the acting block, kneeling to retie it. Farkle takes the moment she’s not looking to regain his composure, shaking off the uncertainty.

> **Farkle: **Well, I have to get going. I have to hurry if I want to catch Cory and express my honest critiques of his teaching practices.
> 
> **Isadora: **Sure you’ll have plenty to say in that regard.
> 
> **Farkle:** I have an itemized list.

As Farkle is heading out, he suddenly seems to remember something else.

> **Farkle:** By the way, you should go to the mixer tomorrow.
> 
> **Isadora: **How did you hear about that?
> 
> **Farkle:** Nigel loves to humble brag in the boy’s dressing room. But I think you’re smart enough to recognize not going would be a mistake.

Isadora can acknowledge that. Farkle leaves it at that, heading out and leaving Isadora to think on it on her own.

**INT. AAA - LIBRARY - DAY**

Charlie is in the library after school, doing homework with CLARISSA CRUZ and HALEY FISHER. But they’re not so much studying as having a group therapy session -- if Charlie thinks he’s stressed, then at least he can take comfort in the fact that he’s not alone in that feeling.

Haley admits that even the assignment for this week is an unintended stressor. She’s got so much going on that she’s trying to keep up with at this point in the year, even trying to figure out which of her emotional whirlwinds to dedicate a whole performance to feels like a challenge. Clarissa shares that with all the stress over college prep, she’s actually started going back to therapy. She used to go when she was younger for OCD, but now it’s mostly just for the support.

Charlie asks if that really helps, going to a therapist. Clarissa admits it’s more helpful than say, talking to Eric, only because they’re more equipped to handle a variety of topics. Not to mention, it’s just nice to talk things through with a fully neutral party. Sometimes it takes a removed perspective to get clarity on what the actual root of a problem is in the first place.

Interesting. Charlie definitely isn’t going to try and talk to his parents about therapy any time soon -- that would mean he needs it which he doesn’t, and he doesn’t want them to think something is wrong -- but the idea of an objective party doesn’t sound half bad.

**INT. AAA - JACK’S OFFICE - DAY**

The clock on the wall ticks, signaling a new day and just before classes start. Jack is sitting across from Lucas yet again, only the meeting lacks it’s usual rapport. With everything that happened before spring break, it’s a wonder if they’ll ever find that natural dynamic again.

But that’s not what Jack cares about right now. He shelves that and the Bradford scandal, keeping his focus solely on the visible crisis situation in front of him. The discussion starts off about as useless as the one with Eric, but Jack has a way of cutting to Lucas’s core that Eric never has. They have a unique understanding of one another, and they both are well aware of it.

Now, more than ever, Jack needs that connection to make a difference.

> **Jack: **Talk to me.
> 
> **Lucas:** I don’t know what you want me to say.
> 
> **Jack: **Yes, you do. I know you know exactly what we want you to say. And I didn’t want to push you, but this is helping no one.

Lucas crumbles a bit. He chews his lip, stalling as much as he can before he has to respond.

> **Lucas, quieter:** I thought you were done with me.
> 
> **Jack:** Don’t do that. Don’t do that right now.

Lucas can’t look at him. He drops his gaze, focusing on his hands in his lap. He’s picking at his fingernails, a bad habit that always flares up when he’s nervous.

> **Jack: **I know why you don’t want to say anything. I understand. But you don’t deserve to continue living this way. There are systems in place that can help you, if we can just develop the right approach. You can help us help you.
> 
> **Lucas: **… I don’t -- _[ almost inaudible ] _I don’t want to be a burden.
> 
> **Jack: **That is not what this is._ [ sitting forward ]_ Lucas, you are not a burden. Speaking for your own benefit does not make you a _burden_.

Hard to believe, even if it’s true. Lucas swallows hard, clearing his throat and shaking his head lightly. Jack frowns, imploring.

> **Jack:** Let me help you.

Lucas stares at him, frozen. He’s right on the doorstep of potential change, of maybe being able to come forward, but it’s like he can’t find the key. Something in him just… can’t.

In this case, he’s saved by the bell. The school bell rings signaling the start of class. Lucas jumps, inhaling sharply and blankly stating he has to get to class. Jack states he’ll at least write him a late pass, but Lucas brushes it off.

He’s gone before Jack can say anything else. Jack sighs, hiding his head in his hands. Changing pace, the heavy bass slowly drifts in…

**INT. ARTISTS OF COLOR MIXER - CONFERENCE HALL - DAY**

* * *

**Song Cue ♫ ♪ “Work From Home” as performed by Fifth Harmony || Performed by Vanessa Johnson (feat. Quincy High Students)**

The AoC student mixer is in full swing when the delegates from AAA arrive, Zay, Isadora, Nigel, Yindra, Clarissa, and NICK YOGI striding in together. To put it frankly, they look _good_. They’re dressed sharper than they would be at a typical day at school, but still casual. Their individual styles with the volume turned up, so to speak.

And with that, they fit right in. There are plenty of other stylish and cool students mingling in the conference space, the ambience sort of feeling like a high school dance only with less sweat and more actual connections being built.

On the stage, students from Quincy High School are performing, including a vivacious and talented junior VANESSA JOHNSON (17). But the performances are less intense here than at the Jacob’s gala, more like upscale karaoke than a serious rendition.

ANGELA MOORE rushes over to greet her former students, in attendance as a speaker during the panel they’ll be having later. She eagerly gives each of them a hug, opting to shake Isadora’s hand rather than push an unwelcome embrace on her. She gives them the low down on the event and encourages them to catch up with her when they get the chance -- but for now, they should mingle! Meet the other talented youth of tomorrow!

Yindra touches up her hair, fluffing it before stating that she doesn’t know about them all but she doesn’t plan to wait up. Nigel raises his eyebrows at Zay and follows after Yindra, disappearing into the crowd. Clarissa and Yogi follow suit.

Isadora scans the situation, trying to get a read on it. Zay stands and waits with her, playfully offering his arm in mock gentlemanly support. She glances at it and then rolls her eyes, lightly nudging him.

> **Isadora: **Alright, that’s quite enough. Lead the way, Babineaux.

He grins, doing just that. Isadora takes a deep breath and marches after him, jumping into the deep end.

* * *

**INT. AAA - AUDITORIUM - DAY**

The class is congregated sans the students at the AoC mixer, all waiting around for the teachers and the lesson to start. Farkle is holding court, wrapping up his address to the techies while he has them all collected and in his grasp.

> **Farkle: **And so yes, while I can’t pretend to understand why you hold an allegiance to your tyrant of a lead technician, I _do_ fear you, Asher Garcia. And you should take that as a compliment.
> 
> **Asher: **What --
> 
> **Nate: **It’s like I said, feral Asher is the best Asher.
> 
> **Farkle: **Nathaniel, did we not just finish discussing that whole talking out of turn thing?
> 
> **Jade: **Coming from the kettle himself…
> 
> **Farkle:** Which just leaves… _[ clasping his hands together ] _Lucas James Friar.

Lucas rolls his eyes from his spot on the assemblage of acting blocks. He remains impassive as Farkle turns to address him, raising an eyebrow in mock interest.

> **Farkle: **I’m aware that it’s a… touchy week. _[ a beat ] _So I’ll keep this brief. You and I have rarely kept our opinions to ourselves when it comes to one another anyway, so I will forgo the obvious and just stick to what’s important to divulge now.
> 
> **Lucas:** Didn’t you say brief?
> 
> **Farkle:** The main point I intend to make, Lucas James Friar, is that I forgive you.

The room goes silent. Everyone is torn between amusement and nerves, waiting to see what either one of them does next. Lucas blinks.

> **Lucas:** I’m sorry?
> 
> **Farkle: **Yes, it’s true. I forgive you for the transgressions you committed against me in our time together thus far at Adams. And let me be clear that I fully acknowledge my own fault in many of our tangles -- it has been pointed out to me by a flurry of psychological counsel that perhaps my tendency to purposefully aggravate you in freshman year which in turn resulted in my continual torment was not a justified or logical course of action. And, by their suggestion, I do feel compelled to add that you do possess an unfairly attractive arrangement of genetics. That’s an undeniable truth I’ve been encouraged to accept as fact.
> 
> _[ Asher and Dylan exchange wide-eyed looks. Lucas continues to stare at Farkle. ]_
> 
> **Farkle: **All this to say, I am willing and ready to move past those aspects of our shared history and start anew. While I’m afraid I can’t completely remove the deep, instinctual feeling of fury I feel whenever I see you -- and I’m sure you might say the same -- I am optimistic that we can find a middle ground and negotiate a working relationship of some kind to get us through these remaining handful of months.

No one saw this turn of events coming. Lucas seems particularly stunned, expecting a roast rather than a submission for truce. Riley steps in, crossing her arms.

> **Riley:** Farkle, for all your honesty, are you planning to share any of your _own_ emotional burdens this week? You know… _self_-reflection?
> 
> **Farkle:** All in due time, Riley. I did my fair share of self-reflection whilst held against my will in recovery, but yes, I do have plans to participate in the weekly assignment just the same as you. Patience, if you please.

With that, Farkle turns on his heel and exits the circle. The rest of them descend into eager discussion of what they just witnessed, the techies especially chatty. Asher, Jade, and Dylan lean in to gossip, wondering what the hell just happened.

> **Asher, indignantly:** _[ in a hushed tone ] _I am not scary!

Dylan rubs his shoulder affectionately, then shares a playful look with Jade. Lucas continues to process whatever the hell that conversation was… when for the first time all week, he cracks something that might be close to a smile.

Perhaps there’s something to forgiveness after all.

**INT. ARTISTS OF COLOR MIXER - CONFERENCE HALL - DAY**

Isadora is doing her best to endure a flurry of new people, and she’s actually doing pretty well. As she’s in the midst of conversation with a few students from the public schools, Brandon from Haverford snakes his way through the crowd and joins their conversation.

He and Isadora introduce themselves, and he mentions that he’s heard about her. From what their Kossal delegate Evan told him, Isadora gave Zay a run for his money at the auditions. That intel coming from Zay himself, and with no ill intent behind it.

This honest appraisal of her ability is a nice surprise to Isadora. She brushes it off, but it’s evident that it means something to her. She goes on to state that she heard he performed well at the Jacob’s gala -- she’s friends with Riley Matthews.

Brandon compliments her performance in return, and admits that despite their ancient school rivalry, their class at Triple A certainly has a lot of talent to boast in its ranks.

> **Brandon: **That Charlie Gardner is definitely a first-rate dancer. Can’t deny that.
> 
> **Isadora: **… you know Charlie?

Brandon seems surprised, and then somewhat amused, that Isadora seems surprised by his comment. He smirks, quirking an eyebrow.

> **Brandon: **Did Charlie not bother to mention? He --

The reveal is disrupted as Zay slides into the conversation, commending Isadora for being so good at mixing and mingling on her own that he damn well lost her for a while there. He introduces himself to Brandon.

> **Isadora:** Yeah, speaking of the best dancers Triple A has to offer.
> 
> **Brandon: **That so?
> 
> **Zay:** It might be my calling card. But I’m trying to widen my appeal. It wasn’t dancing that got me selected as the Kossal representative, after all.
> 
> **Brandon: **Ah, yes. Evan had plenty to say about you.

The strange moment with Charlie is quickly forgotten. Brandon vaguely insinuates that he’d sure love to see what all the fuss was about Zay Babineaux, if he thinks he can whip something up to take to the stage. Until then…

As Brandon saunters away, Zay and Isadora watch after him.

> **Zay, plainly:** He seems like a dick.

Maybe so, Zay. Maybe so. But so many from Haverford do. Isadora asks if he’s going to rise up to Brandon’s challenge -- even she picked up on that -- and he states he might… only if Isadora goes up and performs with him. She’s like okay no, absolutely not, but he reminds her that the whole reason she came here in the first place was she’s considering performing more seriously.

> **Zay:** Only way to walk the walk…

Is to walk the walk. Isadora is stubborn, just like Farkle said, so it’s hard to back down from a direct challenge. She huffs, pushing past Zay and leading the way towards the stage.

* * *

**Song Cue ♫ ♪ “Cuz I Love You” as performed by Lizzo || Performed by Zay Babineaux & Isadora De La Cruz**

A long-awaited first in _AMBITION_ history, Isadora and Zay’s first duet does not disappoint. That’s in part to the iconic song they choose to nail and the natural excellence Lizzo exudes, but also because they’re both undeniable talents. Double the talent simply means double the greatness, and the two of them are short on neither.

It also serves to indirectly fit the lesson of the week, as both of them could be speaking to their own current struggles with relationships. In Zay’s case, the allusion is obvious when he pours obvious emotion into the resounding _“Cause I love you”_ of the chorus. For Isadora, it comes more from the rap bits that ask questions like _“what the fuck are feelings, yo?”_

Most importantly, it’s a certified bop, and the crowd of students agrees. Brandon gets his proof as requested, and Vanessa of Quincy is eyeing Zay with interest. Angela is watching proudly, and the other AAA delegates are grooving along as they would in class.

* * *

Challenge accepted, evidence evident. Thank you _very_ much! Isadora and Zay high five as they finish, clasping hands that gets caught somewhere on the way to a maybe handshake. Close enough. They delivered, so that’s all that matters.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is in his office with the door closed, on the phone with the appropriate channels to elevate Lucas’s complaint. Only this time, it’s more so _his_ complaint, as he’s grown weary of the red tape and is basically demanding that they take action and do something about it. He’s pacing, all of his level-headed demeanor shot to hell.

> **Representative: **We understand why you’re frustrated, Mister Hunter. But there is a process to this sort of thing --
> 
> **Jack, breaking:** No. No, I don’t think you do understand. Because if you did, I don’t see how we would still be having this conversation.
> 
> **Representative:** There are systems in place --
> 
> **Jack: **Well the system is broken! The system is broken if a student safety concern can be elevated _multiple_ times over _multiple_ years, and nothing gets done about it! The system is broken if a boy can come to school with _multiple_ bruises, _obvious_ signs of abuse, and expect it to be no different than the indifference its met with at home. It’s _broken_!

Maybe that’s the case, but the story remains the same. Without key testimony or evidence, there’s not much to be done. You can’t prosecute someone just because you want to.

> **Representative:** Is there anything else we can do to help?

_Help_? Jack has had enough. He hangs up abruptly, slamming his phone down on the receiver. Then he shoves the phone away, so haphazardly that it falls right off the desk and disconnects from the cord.

> **Jack:** _DAMN IT!_

He starts to reach down to pick it up, but then loses all his energy halfway there. He collapses into his desk chair instead, seconds away from breaking down.

> **Asher, pre-lap: **You know we’re just trying to help, right?

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

School has released for the afternoon, only Dylan, Asher, and Lucas still hanging around the auditorium. They’re concealed away in the booth, Lucas in his familiar rolling chair. Asher is perched on the table with the lighting board, arm wrapped around his knee. Dylan leans against the table next to him, both of them looking towards their friend.

Lucas doesn’t seem like he has much to say, but he’s listening, which is more than can often be said for conversations like this.

> **Asher: **We know you don’t want to talk about it. And you don’t have to, that’s fine. We just want you to know… that we see it, I guess.
> 
> **Dylan:** Yeah, I mean, I know we can’t really do anything, but we can do what we’ve always done. Back you up. Like you know you can totally come sleep over at my place any time if you need to, my dad is mostly over the whole arrest thing --
> 
> **Lucas, scoffing: **God…
> 
> **Asher, shyly: **Well... you’re not really there, all that… all that often --
> 
> **Dylan: **Oh, yeah, that’s true. I’m not usually there most nights… but, there you go! Even better, you’d get a whole bed all to yourself out of the deal.

Lucas can’t help but laugh. They are at least good at cheering him up, that’s certainly true.

> **Asher: **The point is we’re here for you. We have your back -- lots has changed in the last year --
> 
> **Dylan: **Everything, feels like.
> 
> **Asher:** But that has not._ [ a beat ]_ We just want you to get that you’re not doing this alone.

Lucas holds his gaze, the moment gentle between the three of them. Although he doesn’t say anything more, he nods. Acknowledging what they said, hopefully recognizing it for its truth.

For now, that’s all anybody can do.

**EXT. COURTHOUSE - NIGHT**

Valerie emerges from the courthouse, expression tight. She’s clutching a paper in her fingers, likely bearing news in regard to her custody claim of Isadora.

From the way she’s reacting, it doesn’t seem like great news. She inhales shakily, holding her chin high and marching down the steps of the building.

**INT. AAA - ERIC’S OFFICE - NIGHT**

Eric is finishing up late night work, surprised when he sees Jack appear in his doorway. He glances at him, smiling as he tees up a witty remark.

> **Eric:** Didn’t realize you were still here. For all the grief you give me about staying so late…

When he glances up again, his entire demeanor shifts. Jack looks exhausted, and the fragile thread he’s been hanging on by is ready to snap.

> **Eric: **Jack?
> 
> **Jack:** I can’t do… I can’t do it.

Eric immediately jumps from his chair, rushing over to meet him. Jack gets a couple of steps before breaking into sobs, almost collapsing into Eric’s arms as he pulls him into an embrace.

He just holds him for a moment, finally letting the strong facade tumble down.

**INT. CHURCH - NIGHT**

Charlie uncertainly makes his way into the building, the same church that Dylan and Asher wandered into in the holiday special. It’s not his church, and he goes unrecognized as he makes his way through.

Still, he seems nervous. He’s here to seek his objective listener and get some clarity -- but it’ll depend on if he can muster up the courage to do so.

**INT. CHURCH - CONFESSIONAL - NIGHT**

Charlie makes his way into the confessional box, kneeling as is typical practice. When he clasps his hands together on the wood, he finds they’re shaking. He tightens his grip, taking a deep breath and working up the courage to speak.

> **Charlie:** Bless me, Father, for I have sinned… I think. Maybe.

Although his start isn’t _quite_ orthodox, the priest listening doesn’t correct him on it. He gently prompts Charlie into discussing what he came there to discuss, although Charlie isn’t there to explicitly confess anything. He admits he probably does have stuff to repent for, namely the impact he thinks he’s had on other people as of late, but he was wondering if it would be okay to seek some guidance.

This isn’t Charlie’s church, so a little unconventionality is far from frowned upon. The priest states that he can speak on whatever he wishes to speak.

So he does. He’s quiet and breathless, still shaky with trying to articulate it, but Charlie opens up about how turned inside out he feels. He’s trying to reconcile these pieces of himself, of the world he knows, and in trying to find the balance he feels as though he’s running himself into the ground.

> **Charlie: **And I think… the thing is, I really believe I could get there. Eventually. I could get to the place where there’s balance -- I have to, right? Cause if I don’t, I -- _[ clearing his throat ]_ I don’t know how I’m gonna survive it. And I want it to work out, the way things are now -- I want them to work out _so_ badly. But… I just...

He chokes on the words, having to stop for a minute and catch his breath. When he starts again, the words crack.

> **Charlie, tearfully:** I don’t think they can. There’s something… something creating this barrier, and I can’t see past it. Even if I think I could get to the other side, someday, it’s like I can’t… I can’t picture it because of this… thing…

He can’t articulate it further. Thankfully, the priest seems to have gotten enough out of the speech, as vague as it might have been. Often times, he explains, the emotions that feel all-consuming and hold us back -- fear, jealousy, rage -- are thinner below the surface than they appear. They feel encompassing when they grip us and block our paths, but the root of them can often be narrowed down to a direct source. The _true_ root of it, regardless of if there are other variations of it compounding it.

The priest asks if any of that sounds right, or makes sense to Charlie. He nods, sniffling and adjusting his posture. When Charlie states timidly that he thinks fear sounds about right, with all of the _panic_ he’s felt in the last months (really, years), the priest states he will give him a question to ponder on for whenever he feels as though he’s hit the barrier.

> **Priest: **When you get to that point again, rather than feeling that fear and hopelessness, center your focus and ask yourself for greater clarity. Seek to answer the question… what are you _truly_ afraid of?

This seems to strike a chord in Charlie, even though he doesn’t know why quite yet. He agrees to the practice, assuring that he will employ it in the future.

**INT. ZAY’S CAR - MOVING - NIGHT**

Zay and Isadora are driving home from the mixer, joking around with one another about the people they met and how funny it was that Angela was acting like their best friend when Isadora is pretty sure she doesn’t even know her name.

When the jabs shift towards Brandon, there’s a moment where Isadora almost mentions the weird thing he said about Charlie. But something in her decides against it, vibing enough about the odd dynamic between Charlie and Zay that it might be smarter to leave well enough alone. Zay doesn’t even notice, moving past the hesitation without a second thought.

Somehow, the conversation drifts again to Isadora’s everchanging social circle in the last year. Zay points out that she hasn’t spent much time with Lucas -- to the point that he would notice -- and Isadora reluctantly admits it’s true. Silence settles over them for a moment, Zay clicking his tongue in distaste.

> **Zay:** It’s fucked up, the thing going on with him. I mean, I know he’s not my favorite person by any means but… no one deserves that.

Isadora wholeheartedly agrees. She admits that it’s tough, not being able to be there for him regardless of how reluctant he is to receive support anyway. After a bout of quiet, Zay offers advice, if Isadora is willing to hear it.

> **Isadora: **At this point, I’ve accepted I don’t know anything, and I will happily hear out anybody. Even better if it’s from the social mastermind himself.
> 
> **Zay:** Well, I don’t know about that._ [ a beat ] _I don’t know if you’ve been told this before, but it might do you some good to talk to him. Really talk to him, you know, kind of what this whole week has been about or whatever.
> 
> **Isadora: **Yeah. Yeah.
> 
> **Zay:** I don’t know your specific situation obviously, and I’m sure Lucas did some shit that puts him in as equal bullshit as you. But I think… kind of universally, the worst thing you can do in a situation like this is just not do anything at all. If you both remain radio silent, then there’s never going to be a chance of fixing the connection.

As he’s speaking, Zay’s speech grows slower and more thoughtful as he realizes he’s basically talking about his own problems. He could apply that very same logic to how he and Charlie are operating these days, not breaking up or giving up on one another but basically not talking either. It’s as frozen as Lucas and Isadora, albeit for a shorter amount of time and vastly different reasons.

> **Zay:** Shit, man, I don’t know what I’m talking about either. But maybe I could afford to try the same. _[ a beat ]_ I’ll give it a shot if you do?

Isadora scoffs a laugh, smiling lightly as she looks out the window.

> **Isadora: **Guess I’ll think about it.

In reality, though, her mind is pretty much made up.

**INT. AAA - ERIC’S OFFICE - DAY**

In contrast to the situation with Farkle, now it’s Eric’s turn to be a pillar for Jack to lean on. He settles into the chair next to him, holding out the tissue box for Jack. He takes a couple sheepishly, swiping at his face and blowing his nose.

> **Eric: **I had no idea this Bradford thing was going on. You explained the enrollment --
> 
> **Jack: **Yes, and she decided the rules need not apply to her._ [ shaking his head ] _It hardly matters. That’s not really… that’s not what is…
> 
> **Eric: **I know… I know.

A beat of silence. Jack huffs, clenching his jaw as he processes what to say next. His eyes are still glossed over.

> **Jack: **This is not how this should be. Our main priority is to take care of our students. But how can we do that if no one is willing to do something when it really matters?
> 
> **Eric: **I know.
> 
> **Jack, fiercely: **It shouldn’t be on him._ [ wiping at his eyes ] _It should not be on Lucas to change that situation.

No doubt about that. Eric nods along, reaching forward and patting Jack’s wrist. He grips it tightly, waiting for him to look at him.

> **Eric:** Lucas is tough. I know that’s not what should matter and that’s not what you want to hear, but it’s true. He is one of the most resolute people I’ve ever met -- he will endure. And in the mean time, we will keep fighting until something is done.

It’s not enough, just like Riley said, but for now it has to be. Jack nods, releasing a sigh.

> **Eric:** And we’ll figure out the Bradford mess. I don’t know who miss old money thinks she is, but she can’t buy Triple A. We’ll tackle that, and we’ll do it together.

Jack laughs, even though it’s not particularly funny. He locks eyes with Eric, thanking him softly for the support. Eric offers his softest beam, jostling his arm lightly.

There’s at least some relief in knowing the fight won’t continue solo.

**INT. GARDNER HOME - LIVING ROOM - NIGHT**

Ambrose is up reading a book before bed, reclined in his arm chair. He perks up when he hears the front door open, greeting Charlie when he returns from being out so long. He points out he was out later than usual, which Charlie lightly brushes off by claiming he just had some things he needed to take care of.

Charlie hesitates in the doorway, opting to go in and sit rather than head upstairs to hide. He brings up the notion of transferring schools again, asking for Ambrose’s genuine opinion. What does he think he should do? What would he do, if he were in the same place? Ambrose claims he can hardly say what he would do -- he never was torn between art schools. He doesn’t understand that angle, so it’s hard to say.

Still, Charlie is looking at him in earnest. Looking for guidance from his father, no matter how helpful it is. Ambrose takes a moment to think, settling on what he wants his advice to be remembered as.

> **Ambrose:** I think you should choose the path that makes you happy. That’s all that matters to me, you know? That you’re happy._ [ a beat ]_ So whatever you think would make you happiest, do that one.

Although the guidance doesn’t lend much to the subject at hand, Charlie seems to realize something as he says it. His expression shifts from touched to fearful to heavy all in an instant, then settles back on his practiced pleasant resting state. He nods, thanking his dad for the honest advice.

When he gets up to head to bed, he stops by his chair and reaches down to give Ambrose a hug. Ambrose is caught off guard by the gesture, but he returns it gladly, giving him a bracing pat on the back.

Then Charlie pulls away, expression growing blank as he heads upstairs. Clearly with lots to think about.

**INT. MATTHEWS APARTMENT - NIGHT**

Riley and CORY MATTHEWS are discussing the situation with Lucas while eating dessert, and although Cory empathizes he’s about as stuck as everyone else. He expresses that Shawn had a complicated relationship with his father when they were growing up, but it was never… like that. If Eric and Jack are doing everything they can, then they just have to trust that’s the truth.

Although Riley still doesn’t seem convinced, her phone ringing distracts her from it. It’s TOPANGA LAWRENCE, and Cory gives her a nod that it’s okay to take the call. She does so, answering the phone and gently excusing herself to her room.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley steps into the bedroom, exchanging eye contact with Maya as she enters. Maya has her headphones in and simply nods in response, not paying her any attention. Riley heads over to the bay window, trying to catch up to what Topanga has already gone off on a tangent about.

She’s evidently excited about whatever she wants to talk to Riley about, but Riley forewarns her that there’s a lot going on at school right now and she’s not sure how much she can handle. Topanga tells her not to worry, as this is good news. And might just be the remedy she’s looking for, if school is still weighing so harshly on her.

> **Topanga: **Now that I’m mostly settled into the new place, and you’ve seen it -- you did like it, didn’t you? All the quiet, not like the city, and the amount of space --
> 
> **Riley: **Yeah, it was um, really nice. I think you’re going to be really comfortable there. Happy.
> 
> **Topanga: **Already improving on that, honey. And I think you’ll be, too. _[ a beat ] _I want you to come stay with me and Auggie, Riley. I want you to come move upstate.

Riley is so stunned she doesn’t have words. She absorbs the words but can’t process them, and Topanga doesn’t wait up for her to respond.

> **Topanga:** Naturally, I want this to be your choice -- you’re nearly an adult, and the situation is far from the same as it was with Auggie. But I really think it could be great for you -- all this fresh air, all of the separation from… everything in the city. And the schools are amazing, Ri, there’s even an arts school we can look into… and Auggie misses you. He says so enough, at least, ha ha.

It’s impossible to tell what’s a tactic and what isn’t. Does Topanga really want her there, does she genuinely miss her company -- or does she just want another victory against Cory? Is there truth to her statement that Riley might flourish away from AAA by escaping it all again -- or would it just be another messy reset, leaving everything in ruins when she uproots herself? Does Auggie really miss her enough to wish her upstate as well -- or is it just a strategic marketing ploy to shift Riley’s life once again?

It’s too much. It’s too much to comprehend. Between how everything just fell apart, and Lucas, and Farkle and Zay and Charlie and how she already feels like she’s being pulled in a hundred different directions -- she’s shattering. She’s shattered, and she can’t hide behind everyone else’s problems anymore. Not when hers are staring her right in the face, forcing her to take action.

As Topanga’s voice rambles on, fading to static, it’s overpowered by the introductory piano notes...

**INT. AAA - BLACK BOX THEATER - DAY**

* * *

**Song Cue ♫ ♪ “Manhattan” as performed by Sara Bareilles || Performed by Riley Matthews**

Riley sits at the piano and performs the melancholy ballad, stepping up to the plate in terms of the assignment for the week. She’s not running from her emotions surrounding her parents any longer -- she’s putting them fully out on display, bending to all of the weight that comes with it.

It’s a deeply emotional performance. It’s power is rivaled only by her former rendition of “She Used To Be Mine,” and this one hits with a much more profound ache. It’s almost as if the song is from the perspective of her parents, splitting up the remains of their relationship and leaving her father with the city, but it’s about so much more than that.

The way she sings it, with tears in her eyes and voice fragile, it’s about how she’s splitting up too. Everything that’s been weighing on her causing her to finally crumble, recognizing defeat and knowing there are some battles she simply can’t win.

The quiet and awed reception of her peers speaks enough to the heft of it. All of them are respectfully at attention -- those who know her well are glossy-eyed in sympathy. Asher, ever the easy crier, swipes away a few tears.

At the bridge, _“holding us in place is simply fear of what’s already changed,”_ something about the moment seems to land with Lucas. He remains put together, but the way his jaw twitches and his expression shifts is signal enough.

She rounds out the piece, keeping her focus on hitting the right keys to keep from letting her own tears spill over.

Riley may be beaten down, but she is not broken. And until that point, she will be saving her tears for herself.

* * *

**INT. AAA - HALLWAY - DAY**

As the class disperses for lunch, Zay pulls out his phone to discover he has a missed call and voicemail. He listens to it curiously, heaviness of the morning evaporating as he learns that he’s gotten a callback for one of the productions he auditioned for during spring break.

Zay breaks into giddy laughter, spinning and trying to keep his cool as he finishes listening to the voicemail to get further details. When it’s done, he doesn’t know what to do with himself, locked in the pure joy of it for a moment.

Instinctively, he finds himself going to his contacts and pulling up a certain message thread. Knowing who he wants to share the news with, above all else.

He quickly types a message as he takes off down the hallway.

**INT. AAA - DANCE STUDIO - DAY**

Charlie pokes his head into the usual studio, finding Zay pacing impatiently and kind of dancing to himself. When he spots him he freezes, the two of them staring at one another uncertainly for a long moment.

They both move at once, meeting in the middle and wrapping each other in a tight embrace.

> **Zay: **I’m sorry.
> 
> **Charlie, breathless:** I don’t think you’re the one who needs to be apologizing.

They hold the hug for a moment longer, pulling apart as Zay starts speaking. He acknowledges what they both know -- they have a _lot_ to talk about, probably even more now that they’ve wasted like a month avoiding one another and not talking about it. He knows that, and he knows it’s not going to be easy, but he wants to make it work. He knows they can talk through it all, and they’ll make it happen. That’s what he wants.

> **Charlie, shaky but genuine:** Me too.

Zay seems pleased, just grateful they’re back on the same page. He shares the main reason that he thought of talking to him now, telling him about the auditions he went on during spring break and that he got a callback. Charlie is floored, giving him another hug and stating how proud of him and happy for him he is. Zay is definitely destined for greatness, and he’s already on his way onwards and upwards. Look at all the things he accomplished when he set his mind to it, when…

When Charlie wasn’t eating up all of his time and energy. The reality of it hits him as Zay is going on about what the audition process was like, Charlie recognizing that the reason he went out for it at all was because he wasn’t distracting his efforts.

He’s shaken out of it when Zay grabs his attention again, asking if there’s anything important he missed when they were being idiots. Charlie shakes his head -- nothing as major as a callback, by any means.

Zay releases a sigh, looking at Charlie happily. He pulls him back into another hug, Charlie returning the embrace.

> **Zay:** I love you. _[ pulling back ]_ And we’ll talk about… all of it. ASAP. It’s gonna work out though. Energy like this, I don’t see how it couldn’t.

Charlie nods along, agreeing. Obviously hoping that Zay is correct, even if he doesn’t seem totally convinced.

**INT. AAA - AUDITORIUM - DAY**

The A class is assembled on the stage, sitting in a wide, uneven circle. The faculty are off to the side, including Jack and Eric. Farkle is standing in the middle, holding an electric candle in his hands and thanking the lot of them for coming.

> **Yogi: **It’s school, we have no choice.

Farkle places the fake candle in front of his feet, declaring that as part of his performance, he asked Eric if it would be okay to lead the class in a form of group meditation. It’s a practice they employed often in recovery, and he thinks it might be useful to the lesson of the week.

> **Dave:** Meditation? Like… _[ imitating a monk ]_ ooooommmm?
> 
> **Farkle, plainly: **Almost. Good try, Davis.
> 
> **Dave:** :)

In the realm of cognitive behavioral therapy, Farkle goes on to explain, meditation refers more to the processing and acknowledgement of thoughts. It’s intentional reflection, taking the time to process each thought as it comes in and allowing it to exist as it is. Not assigning emotion or connotation to it -- just acknowledging each thought, and then letting it go.

> **Nigel: **And you participated in this willingly? You.
> 
> **Farkle, deadpan: **Oh, no, we wore shock collars.
> 
> **Harper:** Jesus…

Jack rubs his temples. Farkle continues on undeterred.

> **Farkle: **No, I personally found the whole thing quite boring. But I tried to find a way to make it most effective for myself -- and for me, that involved acknowledging each thought but giving spotlight to the ones that seem to get the most visceral reaction out of me. To me, that was what really helped me figure out some of the things that were troubling me, the ones that weren’t obvious or easy to identify. And I think, privy to the lesson this week, maybe we could all attempt to do the same thing. It’s less of meditation and more of... emotional confrontation -- in a safe space, of course.

Farkle seats himself criss-cross on the floor as well, stating that he’ll lead the Farkle-meditation. He encourages each of them to think about whatever they wish, as that’s the exercise, but as promised, he wanted to lead it by performing a melody he thinks speaks most aptly to the emotional crisis he is currently grappling with.

> **Lucas: **So there’s singing?
> 
> **Farkle: **Lucas James Friar, it’s me. Of course there’s singing.

Well, touché. Farkle instructs them all to close their eyes, pulling out his phone for a timer and the proper accompaniment. The class plays along, settling into the quiet and waiting for the experience to commence.

* * *

**Song Cue ♫ ♪ “Papa Can You Hear Me?” as performed by Glee Cast || Performed by Farkle Minkus**

The song does hold a somewhat reverent tone as Farkle launches into the opening prayer, wasting no time getting to the theatrics. On the first _“God,”_ Lucas opens an eye to side eye Farkle for being, still, so undeniably bonkers.

When Farkle says _“And my father, who is also in Heaven,”_ Isadora opens her eyes in concern and looks around -- Maya quickly assuages her concerns, shaking her head and making it clear that no, Farkle’s father is not dead. He just has a very, very dramatic son.

As they tread deeper into the prayer-like tune, however, it loses some of it’s ridiculousness and starts to take on a true heart.

_Papa, please forgive me, try to understand me  
Papa, don't you know I had no choice?_

From the lyrics, it’s more than evident why Farkle chose the song -- and how earnestly he performs it is a new shade of vulnerable he’s never shared with his classmates before. It’s a cry for help to the one person he can’t seem to reach, the missing piece to his world order that has left everything else feeling so decidedly empty.

_I remember everything you taught me, every book I've ever read  
Can all the words in all the books help me to face what lies ahead?_

Suffice to say, Farkle isn’t the only one with daddy issues in the A class. The meditation hits certain classmates in ways they definitely weren’t expecting -- Riley is crying silently, as is Maya. Lucas is clenching his fists against his knees, despite how flippant he was about Farkle’s introduction.

_Papa, how I love you  
Papa, how I need you..._

Zay opens his eyes for a moment in time to get a good glimpse of Charlie across the circle, who is tear-stained in spite of how he’s attempting to hold it together. The image of it strikes him, Zay seeming to realize something he hadn’t quite fully grasped before.

Farkle rounds out the number, how delicately he sings the words somehow making them all the more powerful.

_Papa how I miss you... kissing me goodnight…_

* * *

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is shaking off the melancholy from the performances of the day, Valerie poking her head in and requesting a moment of his time. Although she’s not in tears the way the rest of the class was earlier, she’s shaky as she enters the room.

Eric invites her in, curious towards her odd emotional state.

**INT. AAA - BOYS DRESSING ROOM - DAY**

Farkle is accosted by a throng of his classmates as soon as class is dismissed, Maya leading the charge. They storm into the dressing room as he’s packing up his bag, although he doesn’t seem surprised or disturbed by their presence.

> **Maya: **Okay Farkle, what fucking hell voodoo magic was it that you just pulled?

Farkle assumes, correctly, that they’re talking about the way they reacted to the meditation. It’s not witchcraft -- it’s awareness. He was simply singing about the things he himself is struggling to contend with at the moment, maybe that resonated with each of them in ways they weren’t expecting. He slides his bag onto his shoulder.

> **Farkle, matter-of-fact: **That, my darling Maya, is emotional confrontation. It might be time to acknowledge those thoughts you’ve been burying away for some time now.

Damn. That’s a pretty brutal read. And yet, it rings true…

Farkle gives them all a light smile, parting the small crowd and striding his way from the dressing room. Maya blinks, contemplating the truth to Farkle’s words and her teary reaction.

**INT. AAA - CATWALK - DAY**

Isadora emerges from the steps, finding what she’s looking for quickly enough. Up here so high, there’s nowhere to hide.

Lucas is seated in the middle of the catwalk, arms wrapped around his knees and flipping a wrench idly in his fingers. Isadora hesitates before sauntering over to join him, asking if she can park it next to him. Lucas looks up at her and nods, not offering much else.

Isadora settles down, letting out an exhale and absorbing the feeling of being up there. The special kind of quiet, the reprieve from the insanity, the company of her best friend that doesn’t feel at all like socializing in the way it does with other people. Then she looks at him, with bruises healing on his face and feeling further away from her than he actually is.

It’s not right. It hasn’t been right for too long.

> **Isadora: **Think we’ve got some things to talk about. You and me.
> 
> **Lucas:** Haven’t you heard?_ [ sardonically ] _I’m not good at talking about things I should.
> 
> **Isadora:** I’m not talking about that. I mean… yeah, that’s important too. But I get that. _[ a beat ]_ I mean you and me. Whatever… whatever spectacular disaster you and I have managed to cook up between the two of us.

Lucas scoffs, not arguing with that assessment. Isadora takes the initiative to speak first, expressing her frustrations with how easily they fell apart. She knows it was hard for him when she decided to pursue performing, and although she didn’t want to think about it at the time, she knows she didn’t necessarily handle it the right way. She knows she stepped in it with the techie crew, and it’s going to take a lot of work on her part to repair that dynamic.

> **Isadora: **But you could’ve done more too. Our thing has always been that… that we’re there for each other, right-hand man, and yet the moment I stepped in a direction you weren’t happy with you just… disappeared. And you know what that does to me. Being left behind.
> 
> **Lucas, tiredly: **I know.
> 
> **Isadora: **And then because we’re both such fucking stubborn idiots, it just got worse and worse until it… became whatever this is. And I’m taking my credit for half of that, I know it’s not just on you. _[ softer ] _But you let me go. Why did you let me go?

Lucas shrugs. Isadora obviously isn’t going to take that, tilting her head back against the metal of the catwalk and raising her eyebrows. She’ll sit there all day, and he knows it.

> **Lucas: **I don’t know. I know I… I’m sorry. Really, I am. For dropping you so easily, for not giving you more credit. I know you better than that… at least I thought I did. I told myself I did. Maybe I just knew the version of you I preferred.
> 
> **Isadora: **So, what? What’s the deal, Lucas?

He hesitates, avoiding her gaze. He twirls the wrench slowly, then finally speaks.

> **Lucas: **I guess I just thought that if I dropped you first -- if I dropped everyone -- then it would save me the trouble when they inevitably tried to do the same.

Isadora states the obvious -- that thinking that way is ridiculous. She knows she was careless with her time and needs to work on that, but she was never going to drop him. Lucas shakes his head, claiming that’s not really what he meant. He struggles to find it, bringing him the closest he’s gotten to cracking all episode.

> **Lucas:** I knew it when I saw you perform in the first week of class this year. When you insisted on performing, even though everyone was telling you not to. I knew that… you were going to be more, you know? You’re not like the rest of them, but there’s this… thing with you. This greater drive pushing you towards whatever you’re supposed to be, and I realized that I was holding you back from that. Not on purpose, but because I didn’t want you to go. If you just stayed where you were, if things stayed exactly the way they’ve always been, then things wouldn’t change. And you wouldn’t end up with everyone else.
> 
> **Isadora:** Everyone else how?
> 
> **Lucas: **Everyone has it here. This… sense of purpose. Being gifted, having ambition, being possessed by this cosmic _certainty_ that they’re destined to be something. And I don’t know why, but for whatever reason I’ve just become…

Lucas swallows, tightening his grip on the wrench. He dips his head down, shaking his head.

> **Lucas: **I’m aware that I am so completely, totally… _ordinary_._ [ clearing his throat ]_ And when you’re constantly surrounded by people who aren’t, who have so much… I don’t know. Guess it’ll drive you crazy, after a while. Being surrounded by people who are so much better. Including you.

Isadora opens her mouth to argue, but Lucas speaks quicker, trying to get the thought out.

> **Lucas:** And I guess I just had this… this fear that when you figured it out, when you realized you were all of that and more, that would be it. You’d take off with the rest of them, to fulfill your purpose, and I’d… still be here. On my own. _[ a beat ] _But then I just ended up doing that to myself anyway, so… _[ huffing ]_ really outdid myself on that one.

The vulnerability of the moment settles between them. Isadora states that it’s not that Lucas doesn’t have a purpose -- he just hasn’t found it yet. It’s not here, in musical theater or anything like that, and that’s fine. It’s not like he was ever kidding himself that it would be.

> **Isadora: **But me starting to figure out my passion doesn’t mean I’m going away. I know maybe my own traumas and fears aren’t the best argument for that, but… Lucas, you’re my best friend. I’m not going anywhere, and when you figure out the thing that gives you that same sense of purpose you know I’m going to be right there with you. _[ a beat ]_ If I’ve learned one thing from foster care, it’s that siblings stick together, blood or not. And you’re my brother, Lucas. I’ll always love you. _[ making a face ] _Even when I hate you every now and then.

Lucas absorbs the sentiment. Not sure he quite believes it, but in the better headspace to be able to accept it. He nods, apologizing again for the catastrophe this year has been.

> **Isadora:** Also, you’re batshit if you think any of those performer bitches are better than you in anything other than performing. _[ a beat ] _You know, when you’re not literally self-destructing.

Lucas laughs in spite of himself, resting his head against the bar of the catwalk. After a moment of shared silence, he speaks again.

> **Lucas:** No one had to tell me you were extraordinary, by the way. _[ meeting her eyes ] _Always known it.

So there they are. Standing in the rubble of the hurricane, not without injury, but survivors. And somehow, still together when all is said and done.

Where they go from here is entirely in their hands.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is looking over the paperwork Valerie received from the courthouse, somber as he takes it in. One word is clear and telling -- **DENIED**.

The rest, Valerie fills in.

> **Valerie:** I failed the drug test. It was stupid of me, I -- it’s been something I’ve struggled with for… some time.
> 
> **Eric: **Not uncommon, in your industry.
> 
> **Valerie:** No. But… I really have been trying. Some days are so good, and it’s like I never even had a problem at all. And those are the days where I really believe it could happen, that I could get Isadora out of that terrible situation jumping back and forth from place to place… give her a real home like she deserves, you know? _[ sniffling ] _Then I fuck up. I always fuck up, at some point.
> 
> **Eric:** It’s not that easy. Don’t discredit yourself.
> 
> **Valerie: **No, I think I could afford a little discrediting, ha. _[ a deep breath ]_ I’m going to do it. I’m going to get clean, and then I’m going to come back and we’re going to wrap this up. I’m going to do it for her. I’ve already booked my stay at the rehab center in LA.
> 
> **Eric:** That’s good then. It sounds like you’ve got a plan.
> 
> **Valerie: **Yes… but that’s not what I wanted to talk to you about. I was hoping we could work something out, a contingency plan, so that if worse comes to worse… Isadora has a place to really go rather than crashing on dear Blue Nguyen’s couch.

Oh. _Oh_. Eric is flustered by the idea, stating that he’s hardly a caretaker. He’s never had children of his own, he doesn’t know if he’s equipped… but Valerie vehemently refutes the notion. He takes care of _hundreds_ of children every day, in some cases developing relationships with them more nurturing and helpful than their own parents. She knows that damn well.

> **Valerie: **And you must know how much Isadora looks up to you? She feels comfortable with you -- much more than me, to be honest. And I’m her biological mother. Clearly, point proven, genetics has nothing to do with determining a proper parent.

Eric is touched by this, but still hesitant. Valerie is practically begging at this point.

> **Valerie: **Please, just… just promise me you’ll take care of her. If anything happens that I can’t control, if something goes wrong…

After a moment, a sense of calm settles over Eric. He nods, reaching across the desk and touching Valerie’s hand.

> **Eric: **I will consider it. But I can promise you that Isadora will be fine. No matter what happens.

Valerie nods, tearful. She gives him a grateful smile, squeezing his hand in return.

**INT. AAA - COSTUME LOFT - DAY**

Zay climbs his way into the loft, finding Charlie sitting amongst the racks and piles of clothes. He’s fiddling with the Jack costume from _Into the Woods_ just for something to do with his hands, sitting so he’s as small as he can possibly be. His eyes are red and his face is flushed.

Without a word, Zay comes over and sits across from him. They don’t speak for a moment, Charlie taking a deep breath and letting it out in a sigh.

> **Zay:** It’s your dad. _[ a beat ] _Right?
> 
> **Charlie: **The other day I was asking him about… it’s not important. I was asking him for advice, and he told me that I should make the choice that makes me happy. That he just wants me to be happy. But then I found myself thinking… would you? If you knew the choices I’ve been making, if you knew what made me happy… would you still feel the same way?

Zay frowns. Charlie closes his eyes, taking another calming breath. It doesn’t really do its job.

> **Zay: **I know how important family is to you.
> 
> **Charlie:** I want to tell them, you know. I’ve thought about it… a thousand times. What I would say, the ways they could react, the versions where it could be easy._ [ a beat ]_ And I wish it could be. I wish I could just look at them and say… this is who I am. This is what I care about, this is what makes me happy, this is the boy who… makes me feel good. And safe. And… _[ voice cracking ]_ makes me feel like myself.

Zay is tearing up, trying to hold it together for his sake. Charlie closes his eyes again, pulling it back together enough to be able to finish what he has to say. What he needs to say.

> **Charlie:** But I can’t. The chance that I could lose him… it’s too much._ [ another breath ] _Right now, it’s too much.
> 
> **Zay:** I get that. You know I get that.
> 
> **Charlie: **I know._ [ looking at him ]_ You’ve been… _too_ good. And the thing is, I really do think I can get there. Someday. I’m already way more… way closer than I ever imagined I would be, and that’s definitely in part thanks to you. _[ a beat ] _But I’m not there. Not yet.

And so… Zay can feel it coming a mile away. He shakes his head, attempting to head it off. A couple of tears slip down Charlie’s cheeks.

> **Zay, tearfully: **So I’ll wait.

Charlie huffs, smiling in spite of himself. He shakes his head, looking at him fondly. Wiping the tears from his eyes, but speaking matter-of-factly.

> **Charlie: **You can’t. Not anymore. _[ with a shaky breath ] _Because I might want you… all to myself, sometimes… but the world _needs_ you. They need Zay Babineaux. And you can’t hold yourself back just because of me.

Now Zay is crying too. He shakes his head again, letting the reality of what’s happening sink in. He huffs, shrugging his shoulders.

> **Zay: **I don’t get it. _[ sniffling ]_ I don’t get how even when we both want it to work, it still falls apart.
> 
> **Charlie: **And maybe it’ll fall back into place someday. I don’t know_. [ resigned ] _But for right now, I need to focus on… this. _You_ need to go do everything else you’re meant to do. And if I can catch up, well, then we’ll cross that bridge when we come to it. That’s what I want.

Delicately, Charlie reaches out and takes Zay’s hand. Trying to make it okay, even though it isn’t.

* * *

**Song Cue ♫ ♪ “Rewrite the Stars” as performed by _The Greatest Showman_ Original Movie Cast || Performed by Zay Babineaux & Charlie Gardner**

Zay takes the opening verse, giving it one last plea before they claim it official. Charlie shakes his head, looking away and wiping his eyes. Knowing if Zay really gets the chance to make his case, he’s not going to be strong enough to go through with it. He gets to his feet in the transition between verses, pulling his hand from Zay’s.

He takes up the next verse, beginning his descent from the loft. Zay follows him, the two of them making their way out of the space…

**INT. AAA - AUDITORIUM - DAY**

And into the auditorium. Zay catches up to Charlie as they emerge from the wings, trying to keep them together as Charlie keeps pulling away. As they get to the back and forth of the bridge (_“It feels impossible / it’s not impossible / say that it’s possible…”_), they press their foreheads together and hold each other as tightly as they can. As if there’s a chance, just maybe, that they won’t have to let go.

From there, they launch into the most impressive choreography on _AMBITION_ to date. It’s complex, it’s emotional, it’s impassioned and complicated just like the two of them. It’s a testament to their talent as dancers, as a dynamic, but mainly as partners. The reason they can pull off choreography like this is because they trust one another, and that makes it as easy as breathing… even when there’s no oxygen.

But it’s not built to last. Not right now. Charlie pulls back first, leaving Zay alone at center stage. He backs towards the wings, singing the last lyrics of the number in heartbroken resignation.

_You know I want you, it’s not a secret I try to hide,  
But I can’t have you... we’re bound to break and my hands are tied…_

He disappears through the doors, leaving Zay alone.

* * *

**INT. JACK’S APARTMENT - NIGHT**

Jack is in better spirits after his heart-to-heart with Eric, but still obviously heavy with everything that’s going on. And the emotional reprieve didn’t solve the Bradford problem, which he knows isn’t going to just go away any time soon. So he’s back to puzzling over it again, poring over the paperwork in the living area when Anne Marie comes in and scoops up some of the papers.

> **Jack: **Hey! Don’t --
> 
> **Anne Marie: **Jack, as your partner, I’m putting my foot down. If you’re not going to give up on whatever is causing you so much emotional turmoil, then I’m at least going to help you with it. So help me, talk me through what all of this is._ [ flipping through the papers ]_ It can’t possibly be --

Anne Marie pauses as Jack gets to his feet, looking at the mock-up that includes Lucas’s photo. She frowns at it, recognizing him. She asks if this is the same boy from the other week, who Jack had to go pick up from the police. The one who he claimed, after that debacle, he was done with.

Jack snatches the papers back.

> **Jack: **It’s a little more complicated than that.
> 
> **Anne Marie: **… a little more complicated than _what_, Jack? You said so yourself that this kid had gone too far. You’ve given him every leniency, and he’s walked all over it. So what has he done now?
> 
> **Jack: **_He_ hasn’t done anything. This is… it’s complicated, like I said. And I asked you not to bother with it, so.

Anne Marie points out he’s never been very forthcoming with her on subjects involving school -- especially this Friar kid. She saw the way he completely drained him after that night at the precinct, and she thought they were done with it. With him, for his _own_ mental well-being.

Jack claims she doesn’t understand, to which Anne Marie points out well, how could she possibly? Jack doesn’t want to tell her anything about it. Which, as she could point out, is often how manipulative situations like these work --

> **Jack: **No. Don’t. Don’t talk to me like that.
> 
> **Anne Marie:** Like what, Jack?  

> 
> **Jack: **Like one of your witnesses on the stand. Like this is some kind of… court case or civil suit that you’re negotiating. It’s not as cut and dry as law and order, Annie. Sometimes, things are messier than that. There isn’t always an easy solution. It’s not as simple as cutting things off and calling it even.
> 
> **Anne Marie:** I would argue that it is.
> 
> **Jack:** Well, of course you would --
> 
> **Anne Marie:** Based on the evidence, here’s what I see. I see a troublemaking student who has already pushed every single line you’ve drawn once again somehow giving you more stress than he’s worth. For whatever reason, he’s got you caught under his thumb --
> 
> **Jack:** He is a _child_!
> 
> **Anne Marie: **As I recall, he’s eighteen, therefore he’s punishable by law as an adult. And there are consequences to bad choices, which I thought you were teaching him when you decided you were no longer going to humor his antics. Yet here you are again, bending yourself backwards for him. _[ scanning the page ] _And scanning the basics, to me, it seems to me that the Bradfords have a case.
> 
> **Jack: **What?
> 
> **Anne Marie: **You’ve said so yourself that Lucas Friar isn’t like the other students at AAA. He certainly didn’t earn his place there, and he’s bungled all of his good grace to remain by other means. Do you truly believe he deserves the spot more than anybody else?
> 
> **Jack:** That’s not the point.
> 
> **Anne Marie: **Then what is the point, Jack? What does he have on you? Tell me, what could he possibly be worth? _[ exasperated ]_ What person is worth this amount of trouble?

Jack freezes, processing her words. Realizing how strongly he disagrees with them, how fundamentally their perspectives clash despite how similar they appear on the surface.

> **Jack, calmly:** As an educator, _every_ child is worth the trouble. And if you can’t understand that, then I think maybe you should go.

Anne Marie is stunned. He can’t be serious. Is he seriously insinuating…?

He is. Jack is deadly calm as he watches her, making the point crystal clear. If she can’t understand why this matters, can’t see the nuances to this situation with a little compassion, then they don’t have much else to say to each other.

Anne Marie scoffs, muttering about how unbelievable this is as she marches back to go gather her things. Jack stands his ground, keeping the papers clutched in his hands.

She emerges from the bedroom a few moments later with her bag, storming towards the door. She opens it and steps out into the hall, glancing back at him.

> **Anne Marie:** I hope you truly _believe_ you’re making a wise decision, Jack. Fools live easier when they fully believe their own delusions.
> 
> **Jack, firmly: **Beyond a reasonable doubt.

Anne Marie shakes her head, shutting the door behind her as she leaves. Jack lets out a resounding exhale, collapsing back onto the couch.

**INT. BLUE’S APARTMENT - NIGHT**

Valerie and Isadora are sharing a last dinner before Valerie jets back to LA. Nervously, she treads the topic of the custody dealings and explains that there have been… complications. Isadora questions what happened, if it’s something she did or something she can help with, but Valerie assures her it’s no fault of hers. Just… minor details, things she needs to work out for a bit while she’s away.

But she promises her she’ll be back in time for promenade, and then everything will go from there. She truly believes it will, more than she has ever believed in anything else.

Considering her attempt to change her outlook, Isadora is surprisingly okay with the detour. She claims she believes it too, and so they’ll just wait and see what happens when she returns for prom. Isadora initiates an embrace and Valerie happily returns it, grateful that she’s not giving up on them just yet.

**INT. JACK’S APARTMENT - NIGHT**

Jack has tidied up in the living room, putting away the papers for the night and trying to clear his head. He’s cleaning up dishes in the kitchen when there’s a knock at the door. He treads cautiously, silently hoping it’s not Anne Marie -- he doesn’t think he could handle another argument for the night.

It’s not Anne Marie. When he opens the door Lucas is standing on the other side, jumping when he realizes he’s answered it. He looks uncertain and a little lost -- ever exaggerated by those healing bruises.

> **Jack, surprised: **Lucas.
> 
> **Lucas: **Uh, hi. _[ a beat ]_ I was just in the… in the neighborhood, so.

When he lives across town? This late, on a school night? Likely. But Jack doesn’t question him.

> **Lucas:** … could I maybe come in?  

> 
> **Jack: **Oh. Oh, um, sure. Yeah, here --

Jack steps back, allowing Lucas room to step in. He does, only pausing in the doorway for a moment before awkwardly making his way inside. Jack gently closes the door behind him, asking if he’s hungry or wants some water or anything.

> **Lucas:** Oh, uh, no. I’m good. _[ rubbing his forearms ]_ I’m not like -- I’m not intruding, am I?
> 
> **Jack: **No, no. _[ laughing to himself ] _Actually, you picked a good night to come by. All things considered.
> 
> **Lucas: **Oh. Cool.

Cool, indeed. Both of them stand awkwardly in the living area, not sure what to do next. Lucas clears his throat.

> **Lucas: **Is it… is it cool if I hang around, for a bit? It’s fine if it isn’t. I was just, um…

In the neighborhood. Yeah. Jack processes the request, then nods.

> **Jack: **Of course. _[ managing a smile ]_ Lucas, you can stay as long as you need.
> 
> **Lucas, bashful: **...cool. Thanks.

Jack nods, shifting back into a more confident stance. He points out where all of the basics are, and tells Lucas he’s welcome to set up on the couch and help himself to any of the stuff in the kitchen -- except the alcohol, obviously.

To be fair, Lucas doesn’t seem intent on mischief for the evening. He thanks Jack again, sort of waiting for him to stop hovering before he makes any moves. Jack excuses himself to get ready for bed, heading back towards the hall.

Uncertainly, Lucas settles down onto the couch. He’s stiff for a moment before reclining onto it, forcing himself to relax and releasing a deep breath. Jack glances at him from around the hall, smiling to himself before leaving him alone.

**INT. AAA - GIRLS DRESSING ROOM - DAY**

Maya is in the dressing room, seated on the counter and looking through photos on her phone. Farkle enters, Maya not even bothering to look up.

> **Maya:** Should I even bother to remind you about the rules?
> 
> **Farkle: **Considering you stormed into _my_ dressing room to accuse me of witchcraft, no, I don’t think you really have a leg to stand on.

Farkle hops onto the counter next to her, peering to peek at her phone. She’s looking at photos from when she was a little girl, the picture not just her and Katy -- but also her father. A time that she’s effectively buried so deep down, it’s almost as if it never happened at all.

> **Farkle: **Emotional confrontation?
> 
> **Maya:** … I think, _potentially_, your weird meditation séance may have made some points.
> 
> **Farkle:** No kidding. I’ll have to write to the dungeon masters at rehab and let them know. They’ll be so very pleased.

Maya glares at him, rolling her eyes. Then she softens, locking her phone.

> **Maya: **It’s easy to pretend things don’t matter when you don’t talk about them. Almost as if they’ll disappear… but they don’t. Not really. _[ looking at him ]_ Think it might be worth it to do a little more Farkle brand meditation?
> 
> **Farkle: **Maybe. If you do… _[ softly ] _I’ll be here. Mostly because I worry you won’t do it right and will hurt yourself. It’s a very complicated process, really meant for professionals, like most voodoo --

Maya elbows him, then falls against him and rests her head on his shoulder. He smiles, letting her take comfort in his presence.

Good to be back in the place that has always felt most like home.

**INT. AAA - AUDITORIUM - DAY**

Riley finds Lucas in the auditorium that afternoon, approaching innocently as to not startle him. He lifts his gaze from putting the acting blocks back in place, not displeased to see her.

They exchange some light banter, although considering how exhausting the week has been for both of them it’s not quite at its usual tenor. Lucas expresses sympathy for how things must be going with her parents, considering the performance she gave on Thursday. She shrugs, electing not to think about it for now.

He also subtly suggests that she certainly exerted enough emotional labor on his behalf. When she seems confused, he explains with three easy words.

> **Lucas: **Dylan told me.

Riley lets out a laugh, making a face.

> **Riley:** Suppose I should’ve seen that coming. He really doesn't keep anything from you, does he? Loyal lieutenant.
> 
> **Lucas: **And terrible liar, yes. But he means well.

She can certainly trust in that. Lucas pauses, searching for what he wants to say. Riley examines him, unable to avoid getting caught on the bruises. Even still, they are healing, slowly but surely.

> **Lucas: **I know what you guys want from me. You and Jack and… everyone. I know. And I know it’s the smart thing to do. I should want to do it, it should be easy.
> 
> _[ Riley listens patiently, sensing the “but” before he says it. ]_
> 
> **Lucas:** But… I can’t. _[ quietly ] _I’m just not ready to talk about it quite yet.

Frustrating, yes. A disappointing cog in a broken machine, one that may not ever work in his favor anyway.

But Riley manages a smile, and an understanding nod.

> **Riley:** Okay._ [ a beat ]_ But if, and when, you decide you are… I’m listening. Me and plenty of other people, as I’m sure you can imagine.

Yeah, after this week, he could start to believe that. A moment passes between them, before Riley changes the subject. She teasingly points out that in all of the hysteria, he didn’t get to complete his assignment for the week. At least, she doesn’t _recall_ a performance from him…

> **Lucas, shyly:** _[ with a laugh ]_ Shut up…
> 
> **Riley:** Look, it’s okay, week’s not over yet. You’ve still got… a couple hours? Don’t worry, I can help you.
> 
> **Lucas: **Oh, yeah?
> 
> **Riley:** Well, if I remember correctly, I believe I’ve taught you a thing or two before… we can keep it simple. My treat.

Lucas shakes his head, but he doesn’t pull away when Riley takes his hands. It’s the first time he’s been touched all episode, and she handles the responsibility with the utmost care. The way she thinks he deserves to be handled, if it were solely in her power to make it so.

* * *

**Song Cue ♫ ♪ “Dream A Little Dream of Me” as performed by Glee Cast || Performed by Maya Hart (feat. Riley Matthews)**

Riley starts the number just in a hum, lightly humming the tune through the first verse while the two of them get comfortable being in close proximity with one another again. Slowly, they shift posture, swaying and falling back into some semblance of a slow dance that feels vaguely familiar.

As she quietly starts to sing the second verse (_“Say nighty night and kiss me / just hold me tight and tell me you miss me”_), Lucas doesn’t do _exactly_ that, but delivers some type of equivalent. They drift closer together and he caves, dropping his head against her shoulder and allowing himself to relax. The first comfort he’s allowed himself to take from physical touch in what feels like forever, spurred by sheer exhaustion and that little bit of power Riley has always had over him that he can’t begin to understand.

Riley has no complaints. She closes her eyes and revels in the display of comfort, wrapping her arms more securely around his shoulders. She finishes out the second verse, essentially singing it right in his ear…

**INT. AAA - AUDITORIUM - DAY**

Then Maya takes over, delivering the vocals with decidedly more bravado than Riley yet still carrying some of that sweetness over. She’s singing for different reasons -- missing her mom, wondering about her dad that she’s pushed so deeply into her subconscious -- and so the dash of tenderness is a requirement, putting her in line with the rest of her classmates in this emotionally vulnerable week.

Riley, meanwhile, is now dancing with Charlie whilst Maya sings off to the side. She’s the accompaniment to their pas de deux, the two of them dressed elegantly and acting as well-matched partners.

But it’s not the same. It’s not quite right, for obvious reasons.

From the audience, our tired but resilient A class watches the performance with fondness. Farkle is particularly at ease, simply enjoying the rendition rather than spiraling over whatever else in the mean time, Isadora seated next to him. Lucas watches from next to Asher and Dylan, more placated than he was at the start of the week.

Then there’s Zay, watching from the back of the seats. Arms crossed, chewing his cheek, doing his best not to cry.

Maya rounds out the performance, Charlie spinning Riley and lowering her into a dip. It’s lovely, but it isn’t authentic. It isn’t true.

But, for now, it has to be enough.

** _END OF EPISODE._ **

**If you or someone you care about is struggling with domestic violence, please consider calling the anonymous, confidential National Domestic Violence Hotline (US): 1-800-799-7233 (SAFE).**


	15. We'll Be the Stars [ 2.11 ]

**Summary for the Chapter:**

> A NIGHT TO REMEMBER – Tensions are set aside in honor of a promenade, and some students opt for a change of pace. A clever ruse forces Eric and Jack to team up. Unfortunate circumstances make for odd couples, but stars always know where they’re supposed to go in the end.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**INT. AAA - DAY**

A series of shots guide us into the episode, displaying the school in the midst of preparing for promenade. Banners are hung, student council members work the ticket booth. The halls are decorated according to the theme, “We’ll Be the Stars,” small stars seemingly glittering on every visible surface. A promposal wraps up in the hall outside the auditorium, senior students applauding and cheering as the girl says yes and the other girl wraps her in a tight hug.

Yes, it’s prom time at Adams Academy for the Arts. Let the insanity commence!

**INT. AAA - HALLWAY - DAY**

FARKLE MINKUS opens his locker. We’re looking at him from the inside, giving us a look at it as he rearranges some things. Its decor has been updated after a long detour of being trapped in sophomore year – there are fewer photos, but they are newer and more representative of the way things actually are now. A couple photos of him and Maya are the focal point, but there’s a few scattered notable mentions. A photograph of the full Junior A Class; a picture of his whole family; a rare capture of him and Isadora.

From outside the confines of the locker, we hear RILEY MATTHEWS speak.

> **Riley: **And you’re sure you can handle it? I’m sure if you wanted, we could work out something else –

Perspective shifts back to its usual framing, showing the two of them hanging by his locker. Farkle stems her worrying from the start, holding up a hand.

> **Farkle: **I’m going to stop you right there, Riley. Do you know what you’re doing to me right now?
> 
> **Riley:** … demonstrating concern as a good friend?
> 
> **Farkle: **You’re neuro-splaining me. _[ off Riley’s expression ]_ I get it, you’re concerned about my health. Mentally, above all else.

Riley makes a face, obviously not sold on the concept of “neuro-splaining.” As if she hasn’t had her own mental health experiences… but she figures it’s not worth the argument.

> **Farkle:** But trust me, as much as I appreciate it, I will be fine._ [ a beat ]_ I don’t want to miss out on anything else essential to my junior year experience, and prom is one of those things. Not to mention, I certainly won’t be able to graciously receive my prom king crown if I’m not there to accept it.

It’s clear he’s joking, although with his dry delivery… either way, he’s made up his mind. Farkle will be in attendance at the upcoming event, come hell or high water.

> **Farkle: **Besides, it’s bold of you to assume I could avoid it anyway.
> 
> **Riley: **How come?
> 
> **Farkle:** Prom isn’t just an event around here. _[ pointedly ]_ It’s a contagion.

As he closes his locker –

**INT. AAA - CLASSROOM - DAY**

For how alight with excitement the halls seem to be, classes _are_ still in session and there’s still work to be done. The energy is tamped down in Cory’s classroom, where everyone is completing silent reading for the last few minutes of class.

Still, Farkle was right, and the junior class has been bitten by the prom bug. Everyone is jittery as they sit at their desks, unable to keep still. Under the desk, ZAY BABINEAUX taps his foot to an unheard rhythm. MAYA HART flips her pencil in her fingers, adding to the rhythm against her desk.

CHARLIE GARDNER glances up at the clock, impatiently watching the seconds go by. Tick, tick, tick… as the percussions slowly evolve into an actual beat…

* * *

**Song Cue ♫ ♪ “You Should Be Dancing” as performed by Glee Cast || Performed by AAA Juniors**

The bell rings about 7 seconds in, releasing the class from their academic torture. CORY MATTHEWS cringes as the energy in the room skyrockets, papers flying as the energetic juniors are free to succumb back into the groove.

Zay kicks off the vocals, the number staying in the classroom for the first verse as he volleys lyrics back and forth with Maya. As they escape into the halls…

**INT. AAA - HALLWAY - DAY**

Charlie takes over, leading the charge into the rest of the school. The three of them are the front of the pack, but they pick up other junior students as they go. The whole atmosphere of the halls has changed, feeling groovier in the midst of the twinkling stars and amped up music.

Around a minute and a half in, they pass by Riley and Farkle and pull them into the dance. The movements become less chaotic and more choreographed at that point, truly a spectacle only AAA could pull off.

As they pass by the techies hanging out on the stairs outside the auditorium, it seems even they aren’t immune to the allure of prom fever. They jump up and join in the parade, JEFF MONROE in particular worth spotlighting due to his breakdancing ability.

And away they go again…

**INT. AAA - AUDITORIUM - DAY**

By the time they make it into the auditorium and onto the stage, the vibe of their collective imagination has completely succumbed to fantasy. The stage is basically a disco floor as they dance their way up there, the only thing still remaining commonplace their outfits.

And by this point, they’ve paired off. Farkle and Zay stay front and center – a fun little duo to witness tolerating each other again, if nothing else – with Maya and ISADORA DE LA CRUZ to their left and Charlie and YINDRA AMINO to their right. In the back, ASHER GARCIA and DYLAN ORLANDO are grooving together, while Riley Matthews gets LUCAS JAMES FRIAR to at least do _something_.

As they finish out the jam, Farkle and Zay theatrically toss their heads back and raise a hand to the sky. Declarative, with a flourish, what a dynamite finish. One thing is essentially guaranteed on this prom week, that’s for sure.

* * *

There will be no shortage of drama.

** _Cue title sequence._ **

**INT. AAA - HALLWAY - DAY**

Zay is at his locker, swapping out his dance duffle for his classwork. When Maya practically jumps him and surprises him at his locker, he’s not fazed – he might be the only student at AAA who she doesn’t strike instant fear into in one capacity or another.

> **Zay:** What do you want, mini Britney?

Maya touches her hand to her chest, faux flattered.

> **Maya: **You’re so sweet. I was just thinking that you and I have a real opportunity on our hands this week.
> 
> **Zay:** Must everything be about an “opportunity?”
> 
> **Maya:** Ugh, would you stop being such a damp toilette? Your mood has been totally subbasement the last couple of weeks and it’s really harshing the vibes.

Well, Maya, he _did _just break up with his boyfriend. But people not knowing about them was kind of sort of the whole problem, so he says nothing as he allows Maya the floor again.

> **Maya: **Chin up, Zayby. It’s _promenade_. And you and I are going to come out of it as royalty.

Maya makes her grand pitch: they should go to prom together. Not out of any romantic interest – although, as she admits, Zay is by far the most eligible male in the walls of AAA – but because the two of them would be a shoo-in for junior prom king and queen if they team up.

And like everything else at Adams, there is an opportunity attached. Every year, the duos crowned as prom king and queen in both grades get to perform at graduation. It’s a time honored tradition, one that Maya believes they should not pass up.

> **Zay: **I don’t really see what the big deal is.
> 
> **Maya: **Oh, Zay. Isaiah! Wake up! Snap out of whatever quarter-life crisis funk you’ve succumbed yourself into and smell the potential right in front of you! _[ matter-of-factly ]_ You know that there are _always_ college representatives at Triple A graduation. Of course, it’s to honor the students they’ll be bringing into their ranks, and to hopefully snag some quality time with a celebrity family member or two – I mean, think how many people are going to be swarming our graduation next year when Valerie comes to support Isadora –
> 
> **Zay, flatly: **Yeah, I’m sure she’s so excited about that.
> 
> **Maya:** But it’s _also_ to scout the next crop of graduates. That’s us. It’s almost cosmic that every junior prom king and queen end up going to _amazing_ schools for the arts – there was even that junior prom queen in ‘96 who got a straight up recording contract.
> 
> **Zay: **How the hell do you know this stuff?
> 
> **Maya: **Because I do my research, Zay. And I know you do, too. Which is why once you’ve shaken off the ennui and have your head back on straight – or, bi, whatever – you’ll realize we have prime real estate in front of us. And it’s ours to take… if we step up to the plate. _[ backing away ]_ You know where to find me.

Well, that’s certainly a proposition. Maya floats away as Zay contemplates it, slinging his bag over his shoulder. It’s a good point, he can’t argue with that, and yet…

He glances to the photo of him and Charlie, still taped up in his locker innocuously amongst the rest. In some ways, it seems, it’s just hard to let go of the way you hoped things would be.

Zay closes his locker, heading on his way to rehearsal.

> **Dylan, pre-lap: **We’ll boycott.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Dylan and Asher are following Lucas into the booth, obviously in a heated discussion. Dylan continues to make bold declarations.

> **Dylan:** We’ll stage a full-on protest. You know, when I was in middle school, I was renowned for my poster-making skills in environmental club. They usually lasted like, nine days longer than usual before people tore them down. And Cory is always saying how loud and annoying I am – that has to be helpful for a protest, yeah?
> 
> **Asher: **He said that to you?
> 
> **Lucas: **Guys –
> 
> **Dylan: **Or even better –
> 
> **Asher: **I swear, I’m going to report him. Like, sorry Riley –
> 
> **Dylan:** Let’s stage a _riot_. That’ll really show ‘em! They think they can bar Lucas James Friar from prom? Not when we’re there to literally blow the roof off this place. I bet we can get Isadora to sing “Bad Reputation” – I think we’d need music to be taken seriously here, so –
> 
> **Lucas: **Hey. Hello. Earth to Asher and Dylan._ [ clapping ]_ Let’s cool it, alright?

Lucas waves off their concerns about his ban from prom. He doesn’t want them wasting energy on him when it hardly matters. All things considered, being barred from stuff like this for the rest of the year seems like the best he could’ve asked for given all the bullshit he’s done this year. He slouches into his rolling chair, shrugging.

> **Lucas:** I mean, it’s not like I was really psyched to go anyway. I think I’m more lucky I didn’t get expelled.
> 
> **Dylan, under his breath: **Would’ve boycotted that too.
> 
> **Lucas: **You guys have been looking forward to this for the last three years. It would be stupid for you to blow it just for me. Especially when we consider everything else you’ve already sacrificed for me. Like your sanity. And your clean legal record.
> 
> **Dylan:** I wasn’t mad.
> 
> **Lucas, bluntly: **You should have been. Asher was, but then, he’s always been the smartest out of the three of us.

A beat of quiet as that truth lingers between them. Lucas reiterates the point – that he doesn’t want them to give up something they care about just because of him. They do enough of that already. Asher and Dylan exchange a look.

> **Dylan, softer: **… well, we love you, man.
> 
> **Lucas:** I know. _[ looking at them, then slowly ] _And I love you guys, too.

Well, _there’s_ a breakthrough! Dylan beams, looking to Asher in excitement. Asher is smiling too, although a bit more bashful. Lucas elects to move past the vulnerability quickly – he can give it, but only so much at a time.

> **Lucas: **Which is why I’m not letting you do this. You’re going to prom, and you’ll have a great time without me. Besides, someone has to give whatever posh performers are gunning for prom court a run for their money.

True enough. In fact…

**INT. AAA - AUDITORIUM - DAY**

That’s exactly what the rest of the techies are discussing as they start doing end of year inventory. It’s a long process, so they have to start early. Rather, they’re complaining as Jeff and DAVE WILLIAMS pick their way through the furniture and wood supplies under the prop loft. NATE MARTINEZ is supposed to be taking notes, but he’s not doing a great job.

JADE BEAMON is seated on a stack of wood pieces, nodding along as she feverishly works on the finishing touches to a wardrobe piece. It doesn’t look like a costume for any sort of production, however…

> **Nate:** It’s rigged, anyway. Every year the most popular performers win so it’s not like the institution means anything.
> 
> **Jeff: **Does prom court mean anything… anywhere? Ever?
> 
> **Dave:** My parents were prom queen and king when they were seniors. They got a free dinner at Waffle House.
> 
> **Jade:**_ [ tearing a thread with her teeth ] _Sounds like a better prize than performing at graduation.

Inspired by their complaints, Nate lights up with an idea. He claims that they should start a new tradition to go with their holiday party, and should throw a techie pre-prom bash. That way they can celebrate their year together and have _real_ fun before they have to go deal with the performers all night.

> **Jade: **You know, I think that’s the first idea of yours I’ve liked in months.

Nate bows, then enthusiastically gives Dave a high-five.

Their tomfoolery is interrupted by Isadora entering, all of them growing uncertainly quiet. She hesitates but then marches onward anyway, greeting them with the best attitude she can muster. She just came by to drop off some paperwork for them – she already went ahead and inventoried the wood and set building supplies. This is good, because Nate definitely wasn’t doing it.

Jeff accepts her record, looking it over.

> **Dave:** When did you do that?
> 
> **Isadora:** Oh, I just skipped Matthews’ class. _[_ _offhandedly ] _I could ace that class with my eyes closed, so. And probably brain damage.

It’s a nice gesture, and they’re not going to refuse it. Jeff awkwardly thanks her, silence settling over them once again. Isadora clears her throat, clasping her hands together. She expresses that she knows she messed up with them, and she is going to put in the effort to get back in their good graces.

She spins and escorts herself out without waiting for a response, leaving the four of them to contemplate her promise. Interesting development…

> **Dave: **So… we _don’t_ have to count the wood?

**INT. AAA - CAFETERIA - DAY**

Charlie is having lunch with HALEY FISHER and CLARISSA CRUZ, although he doesn’t seem nearly as enthused about prom as they are. On the other side of the cafeteria, applause erupts again as another promposal between seniors gains public attention. So happy, so romantic!

> **Clarissa: **I swear, nowhere in this school is safe right now.

Haley nudges Clarissa, claiming that she should be less cynical. It takes a lot of bravery to ask someone to prom in front of everyone else.

> **Clarissa: **Yes, well, then they could just have a conversation about it. Or make a big deal about it, but like, between the two of you.
> 
> **Haley: **I think it’s romantic.
> 
> **Clarissa: **You think everything is romantic. You’re the most hopeless romantic I’ve ever met.
> 
> **Haley:** Charlie is too – you agree with me, don’t you, Charlie?

In all honesty, Charlie was _not_ listening. He blinks himself out of his daze, blankly agreeing with whatever Haley said. Clarissa rolls her eyes.

Haley goes to explain how much courage it takes to do such a public proposal. It demonstrates what you’re willing to go through for the other person, how much you like them. Charlie admits that it’s not exactly an act of bravery to ask someone who you know will say yes – especially when there’s no stakes involved for either of you.

> **Haley:** Well, there’s always stakes. You know, even if you think you know someone, they could always say no. And there’s a lot at stake with a rejection… you know, especially if it’s…_ [ looking at Charlie intently ] _between good friends…

Whatever hint Haley is trying to lay down, it’s going right over Charlie’s head. He shrugs, claiming he might not even go to prom. He’s just… not feeling it this year. Haley is mortified, Clarissa looking between the two of them apprehensively. This seems like a recipe for disaster.

Meanwhile, the techies are enjoying lunch at their usual indoor table when NIGEL CHEY approaches. He greets them before turning his focus to Jade.

> **Nigel:** … hey, Jade.
> 
> **Jade, shy:** … um, hi.
> 
> **Nigel:** I, uh… I just had a quick question. I was wondering if, uh –

All of the techie eyes are on him, making this whole situation a lot more intense. Dylan is watching with wide eyes, wondering if what he thinks is going to happen is about to happen. Jade might be holding her breath. Nigel pushes up his sleeves nervously, clearing his throat.

> **Jade:** … yes?
> 
> **Nigel: **I was just…_ [ quickly ] _I had a question about the costume you made for that number last week. It’s actually… it’s nothing, I’ll just ask you about it in class. Sorry, ha ha. Didn’t mean to interrupt.
> 
> **Jade:** … oh. Okay.

Clearly not what he actually intended to ask. Nigel backs off awkwardly, making a quick escape. Jade tries to hide her disappointment. Asher and Dylan exchange a look across the table, shaking their heads. Pathetic!

All of the missed prom-portunities are forgotten, however, as soon as Maya and Zay arrive to kick off _their_ pronouncement of going together. Evidently Zay agreed, because here they go…

* * *

**Song Cue ♫ ♪ “Greedy” as performed by Ariana Grande || Performed by Maya Hart & Zay Babineaux**

It’s been a while since we’ve endured a good old disruption in the cafeteria during lunch hour, and this time Lucas is less likely to pull the fire alarm than ever. So Maya and Zay take full advantage of it, bringing up the energy with their talent and an undeniable bop.

They make a point of pulling other people into it at their tables, and of course, Maya is going to climb up onto the tables in her heeled boots. It’s not quite the same full-blown jam session as “Looking At Me” from earlier in the season, but people seem to be into it and in the general prom mood. Spirits are high!

Well, mostly. There is one pointed shot of Charlie forcing a smile as everyone else grooves along, likely wishing he could be anywhere else.

It’s not so much a promposal as it is… a spectacle, but boy, do they know how to put on a show… once they wrap, Maya makes the official statement that they’re campaigning for prom royalty, and if people have _any_ taste, they sure know who to vote for come prom night.

Given how naturally glamorous the two of them are, up high on the table top and looking fresh as ever, it’s hard to argue with that!

* * *

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Riley is hanging up her dress for prom, a classic and simple lavender floor-length number. She’s fretting over it as she vents to Maya, expressing that she’s still debating the whole upstate move thing Topanga has saddled her with.

> **Maya: **Well, do you _want_ to move?
> 
> **Riley: **I… it’s not that simple.
> 
> **Maya:** It should be. Either you want to go, or you don’t.
> 
> **Riley: **Yes, but… I mean… there’s lots to think about.
> 
> **Maya: **She said it was your choice.
> 
> **Riley: **Yeah, well, my mom says a lot of things she doesn’t mean, so…
> 
> **Maya: **Have you talked to Cory about it? He might have some insight. Or like, Eric?

Riley chews her lip, avoiding the question. Maya straightens up, asking if _anybody_ knows about this potential move other than the two of them. Riley has plenty of excuses ready as to why she hasn’t mentioned it to anyone else, but Maya isn’t interested in hearing them. She claims she at least, at _least_, needs to tell Cory. He deserves to know, lest another life-changing thing get sprung on him with no warning.

> **Maya: **Believe me, as the girl with no parents because of sudden life-altering moves, you owe him that decency.

Youch. Well, that’s tough to debate. Riley absorbs it, focusing back on her dress and smoothing it out nervously.

**INT. GARDNER HOME - ROSIE’S ROOM - NIGHT**

ROSIE GARDNER is chilling on her bed with her laptop, listening to pop music and humming to herself. Charlie comes and knocks on her door, pointedly until she takes out her earbuds.

> **Rosie: **Ugh, yes? Can I help you?
> 
> **Charlie: **You’re so nice. How about, hey, Charlie? How was your day?
> 
> **Rosie: **I’m fourteen, I have the right to be obnoxious.
> 
> **Charlie:** I wouldn’t say it’s a right so much as an active choice.

Rosie groans, asking him what he even came in here for in the first place. He asks if she has anything going on this weekend – perhaps they could go do something together. It’s been a minute since they did some brother-sister bonding.

> **Rosie:** I dunno. I guess we could go see that new Chris Evans movie. I think it’s coming out next weekend, and I’m probably free Saturday –
> 
> **Charlie: **… well, I was thinking more this weekend. Specifically. Like not next weekend. This weekend.
> 
> **Rosie: **I know what this weekend means, weirdo. _[ looking up movies ] _Why are you so set on that? Isn’t it prom this weekend?
> 
> **Charlie: **… well, you know, it’s not a big deal. I was thinking I probably wouldn’t even go anyway, so.
> 
> **Rosie, offended: **Charlie! Ew, no, you can’t _not_ go to prom. Don’t be lame, you’re embarrassing me.
> 
> **Charlie, scoffing:** This has nothing to do with you! You don’t even know anybody I go to school with.
> 
> **Rosie:** Yes, but by Gardner law, I’m associated. Just go with your friends! It does not have to be that deep.

Okay… fair point. Charlie questions if her blatant disgust means they’re not going to the movies, and she claims next week… _after_ he doesn’t embarrass their family name by going to prom like everyone else. So much for finding a clever way out.

**INT. AAA - JACK’S OFFICE - DAY**

Speaking of clever escapes, JACK HUNTER is still struggling to find a way out of the Bradford debacle. So much to the point that he’s now elected to share the issue with Lucas, sitting opposite him with ERIC MATTHEWS as they get him up to speed.

It’s obviously not the kind of thing you want to hear. Lucas is hiding his head in his hands, cursing to himself before turning back to Jack.

> **Lucas: **How long have you known about this?
> 
> **Jack:** … a couple months –
> 
> **Lucas:** _Months_?

Eric tries to keep stress levels at a manageable level, taking over for Jack in explaining exactly what the suit entails and what the Bradfords are hoping to gain from it. Essentially, they’re hoping that publicly printing Jack’s “questionable” enrollment processes will force his hand. Either he’ll cave and let her enroll regardless, or public dissent will push him to oust Lucas, making room for her in his vacant spot.

> **Jack, reassuringly:** Which will not happen.

But for it to gain any traction, it needs to smell somewhat of a scandal (even if it isn’t) – which is why they’ve targeted Lucas as their student to blame. They’ve obviously done their research. And between Lucas’s unique situation for enrollment, his lack of participation in the more showcased elements of the school, and his behavioral record…

> **Lucas, exasperated:** I’m guessing _stealing a car_ didn’t help!

Jack frowns. It’s clear he didn’t want to get Lucas involved if he could help it, and seeing this stressed reaction from him is exactly why. But Eric placates them both, reminding them that the fight isn’t over until it’s over. They will be able to brainstorm a way to fix this – it’s just going to take a concerted effort.

> **Eric: **We will be able to make this work. But it’s going to take a team effort, and total cooperation. You have to trust us, Lucas, and you have to be willing to cooperate. Can you do that? Can you work with us?

What a question, and posed to the notorious school troublemaker at that. But Lucas doesn’t want to leave AAA – let alone be _forced_ out. He sighs, tilting his head back and swallowing his pride before nodding.

> **Lucas: **Okay. Yeah. _[ serious ] _Just tell me what to do.

He looks to Jack, meeting his eyes. Ready to do whatever it takes.

**INT. AAA - HALLWAY - DAY**

Charlie is at his locker, relaying the rejection by his own sister to Riley. She’s leaned back against the lockers, listening sympathetically as he points out another crappy addition to what has been a crappy last couple of weeks.

Along those lines, Riley questions if Charlie still thinks he might transfer to a different school. He hasn’t heard back from Haverford yet, but is he still seriously considering the notion?

> **Charlie, diplomatically: **Given that Zay and I were able to lay everything out there and at least confront the reality of our situation, I don’t think it’s really a necessary maneuver anymore. I mean, the situation is far from ideal, but that I can deal with. I’ve been living in far from ideal my whole life.
> 
> **Riley: **Sad, but sort of inspiring, I guess.
> 
> **Charlie:** I will admit though… it was kind of nice, going through that whole process. Just going out there, you know, proving that I could do things. That I was capable._ [ smiling to himself ]_ If anything, at least I came away with that.

Riley mirrors his smile. Then they’re back on the subject of prom, Charlie lamenting that he doesn’t see what the point is of going if he can’t be there with the person he would actually want to spend it with.

> **Riley: **Considering _my_ ideal date has literally been banned from all school activities and therefore can go nowhere near it, I think I can say I relate.
> 
> **Charlie: **Tragic.

Charlie mentions what his sister said about not making it that deep and just going with friends, and this seems to strike something in Riley. A smile drifts onto her face.

> **Charlie: **Oh no. I know that look. What are you thinking?
> 
> **Riley: **Just that dear Rosamund might have a point. If we _are_ going to be miserable and repressed all night long, then we should at least be miserable in good company.
> 
> **Charlie: **… I don’t know if I like where this is going…

Riley turns to face him, a mischievous smile on her face. She leans in conspiratorially – her delivery would be more convincing though if she wasn’t so inherently cute.

> **Riley: **Charlie Gardner!_ [ in a whisper ]_ Will you go to prom with me?

Charlie stares at her, expression betraying nothing. She matches his gaze, wiggling her eyebrows. Then he can’t help but crack a smile.

> **Charlie: **Well when you look at me like that, how could I say no…

Riley grins, bouncing on her feet and lightly punching him on the shoulder.

**INT. AAA - BLACK BOX THEATER - DAY**

The first step to putting Lucas in less jeopardy – actually participating in class. He’s meeting with HARPER BURGESS to discuss how to make his optics better in that regard. Unfortunately, there’s really only one thing he can do…

> **Harper: **If you do even _one_ performance, then at least you’d have something to point to if the case attempts to jump down your throat.

True. Although he looks like he’d rather die, Lucas reluctantly accepts that point. So it’s official – he’ll be performing a number this week!

> **Harper: **It’s for the best, actually. Everyone else is so consumed with prom fever, they won’t even remember it happened.
> 
> **Zay:** Are you kidding? It’s Lucas James Friar. No one is _ever_ going to forget this.
> 
> **Lucas: **Yeah, um,_ [ pointing to Zay ]_ what is he doing here again?

Harper gestures Zay forward to join them. She explains that considering Lucas is literally starting from scratch, he’s going to need help when it comes to choreography. And singing. And well… basically all of it. She figured Zay is one of their best performers and far more willing to lend a hand than, say, Maya. If Lucas wants a chance of pulling off a decent performance, having his help would be his best bet.

> **Harper: **That is, of course, if you’re up for it, Zay.
> 
> **Zay:** Honestly, I would welcome the distraction. It’s been… an interesting few weeks.

So that’s that. We’ve got the team, we’ve got the plan – time to make shit happen! Even if it kills Lucas in the process. As the backbeat floats in…

**INT. AAA - HALLWAY - DAY**

* * *

**Song Cue ♫ ♪ “I Think He Knows” as performed by Taylor Swift || Performed by Dylan Orlando (feat. Asher Garcia)**

Two _AMBITION_ firsts in one, as Dylan kicks off his first mostly solo performance by bringing Taylor Swift into the song catalogue. He starts off at his locker, giving us a glimpse into the interior which despite the mess is basically as bursting with love as he is – full of photos of his friends, his family, and Asher.

Of course, there’s Asher.

And that’s what he’s focused on as he slides into the pre-chorus (_“He’s got that boyish look that I like in a man, I am an architect I’m drawing up the plans”_). When he sings _“It’s like I’m seventeen nobody understands,”_ he sure means it, because he is seventeen, and nobody _does_ understand. Whew, Taylor really just knows how to write ‘em!

Then he launches into dance, strutting his way down the halls with a definite spring in his step. It’s nowhere near as elaborate as performer choreography would be, but it’s charming and just sharp enough that it’s clear Dylan’s got some real talent.

**INT. AAA - AUDITORIUM - DAY**

Dylan takes the number into the auditorium, making his way over to the prop loft where he’s guaranteed to find Asher. There’s a brief sequence he basically serenades Asher from down below, scaling the fence around the set pieces until he convinces him to come down. The whole thing is dynamic and fun and a little bit theatrical, humoring their classmates as they watch from the stage before class.

On the bridge, Asher takes over the vocals, taking Dylan’s hand and leading him through the backstage areas. Dylan follows along happily, waiting until they’ve reached the other side of the stage to pull him back towards him. Asher presses their foreheads together (_“Where we gonna go… I whisper in the dark… where we gonna go…”_), then drifts away as Dylan belts out the note that throws us back into the chorus.

The final swell of the song takes place center stage, surrounded by classmates and with nothing but good energy. The techies are laughing along, cheering, and even the performers are enjoying the rendition. Dylan and Asher sway together in a circle with the beat, doing a final spin under Dylan’s arm before falling back together and breaking into laughter to take it home. The A class breaks into applause, Asher pulling Dylan down into a quick kiss.

And that, ladies and gentlemen, is how you prom-pose!

* * *

In the high energy after the performance, Nigel casts another glance towards Jade across the stage. It seems like he really might do something, and she definitely acknowledged his eye contact… but then nothing.

Isadora also notices the exchange, curiosity piqued. She raises her eyebrows, Sherlock brain turning before Maya pulls her into a conversation about how the twink performance was clearly not better than hers and Zay’s… right? Right?

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Isadora brings up the notion while hanging out with Maya and Riley, the three of them spending an evening together to map out prom logistics. She questions if either of them noticed it too, or whether Nigel has ever even shown interest in their classmates before. Maya claims he’s never dated anyone in their class, and Riley states that maybe he’s just shy.

Maya scoffs, focused on painting her toenails a shiny silver.

> **Maya:** Look, Nigel is lean meat. I mean, don’t get me wrong, he’s talented, but the boy has _no_ moxy. He has let Farkle walk all over him for three years, when if he just put like, a crumb of effort in he may have already had a lead by this point.
> 
> **Riley: **You know, it could be that he just… doesn’t care that much.
> 
> **Maya:** Well that was his first mistake.

The point is, if Nigel does have interest in Jade – which Maya doesn’t get, because she forgets who Jade _is_ half the time – then it’s more than likely he will do absolutely nothing about it.

Isadora: That’s too bad.

> **Maya:** I mean… I guess.
> 
> **Riley: **Maybe they just want to go with their friends. Prom doesn’t have to be inherently romantic, you know. _[ off Isadora’s nod ] _I mean, I’m going with Charlie, and –
> 
> **Maya: **Wait. _[ sitting up ] _You and Charlie are going together?
> 
> **Riley: **Yeah. But, like, just as friends.
> 
> **Maya:** Oh… oh. That’s… interesting.

There’s a plot twist. If Riley’s unnerved by Maya’s tone, she has the right to be. It’s an odd moment, and it’s only subdued by Cory calling for the girls from the living room. There’s a surprise here for them!

**INT. MATTHEWS APARTMENT - NIGHT**

And what a surprise it is. Maya practically screams when she finds KATY HART in the living area, having just arrived with VALERIE DE LA CRUZ. She runs over and launches into her arms, the two of them hugging tightly.

> **Maya: **Oh my God, what are you doing here?
> 
> **Katy: **Val helped me. Paid my way, so that I could be here for prom.
> 
> **Isadora: **No way?
> 
> **Valerie: **Oh, it was nothing. Hardly a penny out of my pocket. I know how much it meant to me to be here for this weekend – figured the _least_ I could do would be to allow a good friend the same opportunity.

Certainly no arguments here. Maya and Katy hug again, elated. Cory and Riley exchange smiles, Cory pulling her to his side and into a hug.

Valerie pulls Isadora aside, greeting her and stating that she wants to do something special after prom. Like a girls night, deglam and rejuvenate and catch up. Deglam being key, because Valerie _knows_ Isadora is going to look stunning. She can’t wait!

Isadora is totally open to the idea. She nods, matching her enthusiasm.

**INT. AAA - JACK’S OFFICE - DAY**

Jack is at his desk, going through the Bradford paperwork. He’s flagging and highlighting every potential point he might have to refute in an argument, emails open on his desktop of pitches he’s going to send to school board members for support if the complaint breaks.

Eric pokes his head in and knocks on the door pointedly.

> **Eric: **Knock knock.
> 
> **Jack: **Who’s there?
> 
> **Eric: **Stop obsessing.
> 
> **Jack:** Okay, we’re done with the bit –

Eric smiles, leaning against the doorframe. He knows Jack is concerned, but he’s already thought so extensively about this problem. He needs to take a mental break from it, before he burns himself out. Besides, there’s always the chance that it won’t even ever go public.

Yes, a chance… but a chance isn’t a guarantee. Jack claims he just wants to be prepared for the worst, which Eric can’t exactly argue against.

What he can do is change the subject. He states he wanted to double check that they’re both still on for chaperoning the dance on Saturday. Jack confirms, wondering why plans would have changed.

> **Eric:** Well… you know, given your own personal circumstances, I just figured you might not want to –
> 
> **Jack:** Eric, I’m fine. _[ with a shrug ] _After all, what better distraction is there from the shambles of your personal life than watching out for a bunch of rowdy, dramatic teenagers all night long? Can’t think of anything better.
> 
> **Eric:** At least your humor is still intact.

Jack makes a face, accenting the point.

> **Zay, pre-lap:** Okay, literally, what the hell is the matter with you?

**INT. AAA - AUDITORIUM - DAY**

Zay is attempting to teach Lucas choreography, but it’s clearly far from easy. Not that that’s surprising, but it’s evident that Lucas was not meant to be a dancer. It’s a challenge unlike anything Zay has ever confronted before, regardless of how hard Lucas is trying.

> **Zay:** I don’t – like, is your brain connected to your limbs? How is this not clicking?

Riley enters, brightening when she finds them both. She asks how everything is going, and the look that both of them give her basically answers her question for them.

> **Riley:** I hope I’m not interrupting.
> 
> **Zay: **No, you know what? It’s good. I need a break. Rome wasn’t built in a God damn free period._ [ pointing to Lucas ] _Don’t go anywhere with your two left feet, Fry Pan.

Lucas holds out his arms. _What do you want from me?_ As Zay marches off, Riley tries to hold back her smile as she joins Lucas at center stage.

> **Riley:** So seems like it’s going good, then.
> 
> **Lucas:** Oh, haha. _[ making a face ]_ You know – and this may shock you – I’m not a dancer.
> 
> **Riley, gasping: **No. You’re kidding?
> 
> **Lucas:** I know, I know. Brand new information.

Riley smiles, asking to take a look at Zay’s choreography sheets. Lucas hands them over, Riley hopping onto the stacked acting blocks and reading them over for herself. He watches her as she reads, only shifting his gaze to his feet when she glances up to look at him.

She says that all things considered, the choreography isn’t so bad. He just has to keep working at it, and the whole thing is pretty low stakes anyway.

> **Riley: **What even made you decide to do a performance? I have to admit, I never thought I would see the day.
> 
> **Lucas:** … well, with everything I did this year, figure it’s the least I can do. Just putting the karmic cycle back in balance.
> 
> **Riley: **You believe in karma?
> 
> **Lucas: **Could be. Either way, mine is shit. Objectively speaking.

Riley gives him a look. She glances back down at the papers and then states she’s sure he’ll be fine, and she for one is looking forward to the show. He rolls his eyes.

> **Lucas:** You know, they have words for people who demonstrate ridiculous belief in unreliable things. It’s called blind faith. Usually it’s reserved for important things though. Gods, governments. Conventional belief systems.
> 
> **Riley:** Well, I’m nothing if not unconventional.
> 
> **Lucas, quietly: **Yeah.

The tension between them is _palpable_, even with the fair amount of space between them. They hold each other’s gaze, another one of those moments where they can’t seem to look away from one another. If it were possible, they might just stand there and look at each other forever.

Fortunately – or maybe unfortunately, depending on your perspective – Zay keeps that from happening. He reenters and tells Lucas to get ready to run it again, totally oblivious to their lingering moment. Riley hops off the acting blocks as Lucas clears his throat, directing his attention back to Zay.

> **Riley: **I’ll get out of your way. Good luck._ [ smiling ] _Both of you.

Zay waves her off, sending her on her way. Once she’s gone, he turns back to Lucas and lets out a grand sigh.

> **Lucas: **Now you’re just being a bitch.

**INT. AAA - COSTUME LOFT - DAY**

Jade is in the costume department, ignoring the task of organizing the leftover fabrics from this year and painstakingly attempting to fix the project she’s been working on all week. When someone enters she jumps and tries to hide the garment, straightening up and nervously looking towards the doors.

It’s not who she was expecting. Isadora enters, pushing a costume rack.

> **Isadora: **Sorry. Didn’t mean to startle you.
> 
> **Jade: **No, it’s okay. I’m just um… it’s fine.

Isadora nods, bringing the rack all the way in. She explains that she got a head start on the inventorying of the costumes, and all the ones on the rack here are finished. She intends to put them back after theatre lab, if that’s alright.

> **Jade, surprised:** Um… sure. Yeah, that would be helpful.
> 
> **Isadora:** Great._ [ a beat ]_ I really am sorry, Jade. It wasn’t intentional, but I know I dropped the ball when it comes to pulling my weight on our team. _[ hesitant ]_ And our friendship.

Well, Jade isn’t going to tell her otherwise. She shrugs lightly, acknowledging the apology but not necessarily accepting it quite yet. It’ll take time, and Isadora gets that. But she’s said her piece, and now all she can do is keep working to make reparations.

As she’s heading out, though, she decides there’s one more thing she wants to say.

> **Isadora: **About Nigel.
> 
> **Jade:** Huh?
> 
> **Isadora: **Nigel. If you want to go to prom with him… then you should just ask him yourself. Don’t wait around for some boy to do the job right when you’re perfectly capable of doing it – and probably better. He’s chicken, but the way he’s been looking at you… I’m pretty sure he would say yes.

Something to think about, at least. Jade considers it as Isadora exits, leaving her alone with the costumes.

**INT. AAA - CAFETERIA - DAY**

Riley has joined Charlie, Clarissa, and Haley for lunch. As they chat the notion of Charlie and Riley going to prom together comes back up, Haley visibly taken aback by the reveal. She starts to question how that came to be, obviously struggling to accept it, when their conversation is totally derailed by Maya paying a visit to their table.

Although she’s all bright smiles, the tone is mildly threatening as Maya confronts Riley and Charlie. She also is questioning their union for promenade, wondering if their admittedly perfect cookie-cutter image is intent on also campaigning for prom court. Because it would sure be a shame for them to have to go head to head…

Maya might be built like a pixie, but the threat behind her words resonates loud and clear. Charlie shakes his head, stammering to correct her thinking.

> **Charlie:** Oh, we’re not –
> 
> **Riley: **We weren’t planning to –

Yeah, no. It’s a no. This seems to appease Maya, who relaxes and turns back on the charm. Still, her friendly laughter still feels ominous as she wishes them the best, and reminds them not to forget to vote for her and Zay for prom king and queen come Saturday evening.

Clarissa shakes her head, reiterating her former stance.

> **Clarissa: **Nowhere and nothing is safe.

**INT. AAA - ERIC’S OFFICE - DAY**

Eric is putting on his most encouraging counselor smile, sitting across from Isadora and Farkle. He’s just wrapping up a pitch, stating that considering they’ve become such good friends in the last few months, he thought maybe it would be a good idea for them to go to prom as a duo. Just as friends. Pals, looking out for one another! Good, old, promenade buddies.

Farkle seems entertained by the mere suggestion. Isadora looks unamused.

> **Isadora: **So you want me to babysit him.
> 
> **Eric: **That’s – that’s not what I said.
> 
> **Farkle: **That’s basically what you said.

Eric tries to save face, but he forgot he’s dealing with the two most intuitive (and judgmental) students in the junior class. They see right through his facade, recognizing this tactic for exactly what it is.

> **Isadora: **Also, what makes you assume I don’t already have a date?
> 
> **Eric:** … well do you?  

> 
> _[ Farkle looks to Isadora, raising his eyebrows. When she huffs, he cracks a smirk. ]_
> 
> **Isadora: **No, but that’s not the point.

Eric relents, talking to them straight. Yes, they want Farkle to have company at the dance due to his history over the last few months. Ideally, this would be a small ask, considering they are friends and would likely be hanging out at the event anyway.

> **Eric:** You _are_ friends, yes?
> 
> **Isadora:** Request pending.
> 
> **Farkle: **I think of it more as intellectual sparring partners.

There’s really no good way to respond to that. Eric requests that they consider the option, as it would be a favor to him if nothing else. Give him a little peace of mind.

That’s just the selling point he needed to flex. Isadora glances between them, then sighs, claiming Farkle will pick her up when she decides he will.

Eric is thrilled, and Farkle doesn’t look all that opposed either. This, he claims, is a good thing. They’re thwarting problems before they even arise. No problems for junior prom this year!

**INT. AAA - HALLWAY - DAY**

Clarissa runs into Charlie, concerned. She takes his arm.

> **Clarissa: **Problem. Big problem.

When Charlie asks her what the heck is going on, she states that Haley has finally broken down. She’s up in the costume loft and is refusing to talk, and she’s effectively decided she is not going to prom. Whatever crazy plague is running through their class, it’s finally hit her.

Charlie sighs, nodding and telling Clarissa he’ll handle it. He takes off at a jog towards the auditorium.

**INT. AAA - COSTUME LOFT - DAY**

Haley is sitting amongst the costumes, wiping tears from her cheeks. When Charlie pulls himself into the loft it almost makes it worse, Haley shaking her head and telling him to go away.

> **Haley: **As if this could not get any more humiliating.
> 
> **Charlie: **Hey, don’t worry, I have had… my fair share of breakdowns up here.

He settles down next to her, in the exact spot he was crying just an episode ago. He waits patiently for her to acknowledge him again, asking her why she’s so upset. Clarissa told him she wasn’t going to prom – what’s that all about?

Haley shrugs, huffing and avoiding eye contact with him. She shakily admits that some part of her always thought… maybe it was stupid, but he really doesn’t get it. They can be friends for years, spend all this time together, and he still has no idea. And she just… she feels like such an idiot. All of this is just so stupid.

Charlie pauses, searching for how to tread cautiously.

> **Charlie: **If we’re being honest with each other… I know.
> 
> **Haley:** You – you know. You know that I –
> 
> **Charlie: **Yeah. I have for a while.
> 
> **Haley: **Oh God. _[ hiding her head in her knees ] _That’s even worse.
> 
> **Charlie:** It’s not, Hales. You can’t help who you like. _[ a beat ] _Although, still being honest… I don’t really think you do.

Haley lifts her head, frowning at him. She asks what he means, and Charlie tries to figure out the best way to articulate what he’s thinking.

> **Charlie: **Believe me, I speak from experience here, but I think it’s… really easy to become in love with the idea of something. Things that seem easy, and perfect, if they could just work out a certain way. So we fall in love with those _ideals_, rather than the way things actually are.
> 
> **Haley:** So, what? You think I’m just making everything up?
> 
> **Charlie:** No, I believe some of it is real. I believe you love me – and that makes sense, because I love you, too. We’ve been friends for years, like you said, and I can’t imagine what my time at Triple A would be like without you. I don’t want to.
> 
> _[ Haley wipes her eyes. ]_
> 
> **Charlie:** But I think, realistically, that’s all we’re ever going to be. And I think you know that, too – it’s just safer to keep things the way they are now. Where you never get what you think you want, but then you never get hurt, either.
> 
> **Haley:** … okay, you’re kind of freaking me out here. Get out of my head.
> 
> **Charlie, laughing: **Like I said, talking from experience.

A quiet moment passes between them. Charlie goes on to state that Haley shouldn’t give up her junior prom, especially not over him. They’ll both be there, and they’ll still get to spend the evening together with Clarissa and Riley and the rest of their friends. It’ll be fun, even if it’s not the fantasy they imagine in their heads.

> **Charlie: **And as for the rest of it… I guess you and I will both just have to see what the future holds. Rather than hiding behind expectations we know we’re never gonna meet.

A tough pill to swallow, but important. Haley exhales and then nods, giving up. Trading out the fantasy, but perhaps for the better. She gives him a smile.

> **Haley:** I do love you, Charlie Gardner. That much is true.

Charlie returns the beam, accepting the hug she gives him.

**INT. AAA - BLACK BOX THEATER - DAY**

Jade is standing outside the black box, watching Nigel chat with Yindra and NICK YOGI. Dylan and Asher stand behind her, hyping her up as she gears up to do the impossible.

> **Asher: **Just be yourself. Be straight-forward.
> 
> **Dylan: **Go in there and get what you came for.
> 
> **Jade: **Right. Sure. _[ a beat ]_ What if he says no?
> 
> **Dylan: **Sock him.

Asher glares at him, Dylan shrugging before smiling to himself. Asher takes the more serious approach, bracing Jade’s shoulders from behind.

> **Asher:** If he says no, then it’s his loss. You’re Jade Beamon –
> 
> **Dylan: **Jade _motherfucking_ Beamon!
> 
> **Asher: **And he would be lucky to get even an evening of your time. _[ patting her shoulders ] _Go get him, queen.

Dylan lightly nudges her forward, Jade taking a deep breath. Then she marches into the classroom, approaching Nigel and tapping him on the shoulder.

When he turns around and meets her eyes, for a second it seems like she’s going to run. But she squares her shoulders, clears her throat, and speaks as confidently as she can.

> **Jade:** Nigel.
> 
> **Nigel, surprised: **Jade?
> 
> **Jade: **We should go to prom together. If you want to. I mean – you should want to go with me. But only if you do. The point is – will you go to prom with me? Maybe?

The back and forth between assertive and timid is jarring, but also quite charming. Nigel takes a moment to fully absorb what’s happening, but the smile that blooms across his face is near instantaneous.

> **Nigel:** Yes. Yeah, I’d – I’d like that a lot.
> 
> **Jade: **Great! I mean, um, great. Good. I’ll text you with details.
> 
> **Nigel: **Okay. Great.  

> 
> **Jade: **Great. Okay… great.

Jade spins on her heel and marches back out, Yindra and Yogi exchanging wild looks. But Nigel is fully endeared, obviously not at all opposed to this turn of events.

As Jade escapes back into the hall, Dylan and Asher mob her with congratulatory hugs and pats on the back! She did it! Jade Beamon is going to prom with Nigel Chey, baby!

In tone with the celebratory mood, the bold brass opening floats in…

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “I’ve Gotta Be Me” as performed by Glee Cast || Performed by Lucas James Friar (feat. Zay Babineaux)**

Another _AMBITION_ first for the bucket list, Lucas gives his first almost solo performance, with a Broadway number, and that isn’t fueled by pure rage. Zay is on stage with him to help with the choreography, but in some ways that’s a nice way to help take the pressure off. It’s sort of like a dress rehearsal rather than an actual performance.

And look… it’s not _great_. Lucas is not a performer, and he was never pretending to be. But it’s passable, and honestly the vocals aren’t half bad. There are even a couple of rare, fleeting moments where it seems like he might actually be having _fun_.

The real fun is for the audience though. His classmates are near entranced by the spectacle, having watched Lucas do nothing but grump and roll his eyes for three years straight – and especially the majority of this year. Farkle is watching with his jaw dropped open, blankly stunned. Riley is hiding her fond grin behind her hands, shaking her head. Isadora is openly laughing, but with him rather than at him. Even Jack and Eric came to watch, thoroughly amused, and maybe a little bit proud.

The techies are cheering along the entire time, and when Lucas gets through that last note and hits those last steps with Zay, they leap to their feet and give him a standing ovation. Given the year he’s had, the uproarious applause sort of feel well-deserved.

He survived, God damn it, he _survived_!

* * *

**INT. AAA - COSTUME LOFT - DAY**

Jade is leading Asher into the floor level of the costume department by both hands, the latter having been instructed to keep his eyes closed. He’s playing along, but nervously, reminding Jade that he hates surprises and also hates not being able to see.

> **Asher: **You know going blind is one of my anxieties.
> 
> **Jade:** Everything is one of your anxieties. But hold on, we’re almost there.

She gets him right in front of where she’s hung up her latest project, pulling back and instructing him to open his eyes. He does, seeing the surprise and expression growing shocked.

It’s a pair of suit jackets, custom-made for junior prom. They align with the theme in terms of the subtle allusions to stars and shimmering elements factored into the design, but they’re inverse in terms of colors – one mainly creme-colored with darker accents, and the other dark with lighter accents. Matching, but unique. And clear labors of love, from a seamstress who knows her craft.

Jade explains how she got the idea to make them, how she wanted to make sure they were clearly a matching set like Asher and Dylan, but also distinct from one another.

> **Jade: **We just used to talk all the time about how fun it would be to have custom stuff for prom, when we got there one day. And you used to always talk about what you and Dylan could wear, but then would get all embarrassed, as if that was silly. Like it would never happen, that you couldn’t last that long._ [ a beat ] _Well, we got here, and I just figured after the hell year we’ve had…

Asher is staring at them, speechless. He’s tearing up, at a loss for what to do. Jade takes the impending waterworks as a bad sign, searching for a way to recover.

> **Jade:** I mean, if there’s something you’d like better, you can just tell me. Or if you already picked out tuxes, that’s totally fine too, you don’t have to wear them –

Asher interrupts her nervous rambles, barreling her with a hug. The embrace is tight, and although there are tears the tone in his voice conveys that they’re happy.

> **Asher: **I love you so much.

Jade beams, getting choked up too. She hugs him back.

> **Jade, teary but laughing:** I love you, too.

**INT. MATTHEWS APARTMENT - NIGHT**

Prom night is upon us! There’s a flurry of activity at the Matthews apartment, making it more lively than its been in months.

AUGGIE MATTHEWS is there to help Riley get ready and spend the weekend with Cory. Riley is obviously happy that he’s there, grinning when she emerges from the hall in her gorgeous lavender gown and he jumps up in excitement. She questions where their dad is and Auggie nods towards the fire escape, Cory visible through the window.

**EXT. MATTHEWS APARTMENT - FIRE ESCAPE - NIGHT**

Riley delicately climbs her way out onto the balcony, Cory going to help her through when he notices she’s trying. Once they’ve got her upright, he gets a good look at her and goes soft with fatherly pride.

> **Cory, softly:** You look lovely.

Riley smiles, both of them adjusting further out onto the fire escape. They take a moment to look at the scenery of their street, throwing a couple of jokes back and forth about how she’s going to prom with Charlie and whether or not Cory should be worried (he should not at all).

After a moment of quiet, Riley pecks up the courage to speak on what she really needs to say.

> **Riley:** When mom called a couple weeks back, it wasn’t just to check in. She, um…_ [ off his wary expression ]_ She wants me to come upstate, too. For senior year.
> 
> **Cory:** … oh. _[ swallowing hard ]_ Oh.
> 
> **Riley: **I’m not telling you because I’ve made any sort of decision, yet, or anything like that. I’m going to take the time to really… really think about it, and make sure I make the right choice for me. _[ a beat ]_ But I just… wanted you to know what was going on. And also that no matter what happens, I’m still with you. I’m not going to leave you alone.

Cory nods, trying his best to accept it. Riley hesitates, deciding if she wants to continue.

> **Riley:** Regardless of what I choose though… I need to be clear that I can’t be in the middle anymore. I love you both, but I am tearing myself apart trying to keep up with the constant back and forth. Trying to keep things civil in this family when I don’t think that’s supposed to be my job.
> 
> **Cory:** It’s not… Riley, I never meant for –
> 
> **Riley: **I know. And part of it is me – feels like I’m always looking for other things to focus on and fix rather than myself. _[ with a deep breath ]_ But I can’t keep living like that. I need to start focusing on myself… and that comes with setting boundaries. I love you, dad, but I can’t carry your baggage with mom anymore. It’s your fight, not mine.

Cory hesitates, obviously feeling guilty. Then he nods, assuring her that he’ll try his best to remember that. He doesn’t want to make this any harder for her than it already is. And if she’s trying to get him to hear her, then he’s listening. He really is going to try.

Riley smiles lightly, leaning forward to pull him into a hug. He returns the embrace, stating that he’s grateful he gets to be here with her on this important night. They pull apart, Cory fixing a piece of her hair.

> **Cory: **Absolutely beautiful.

She smiles again.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT**

Katy and Maya are sharing a similar bonding moment. Katy has taken over eyeliner duties, adjusting Maya’s makeup with her expert hand. She claims Maya has a tendency for overdoing it, which makes her laugh.

> **Maya: **Tell me something I don’t know.

When she’s all finished, Katy looks at her daughter lovingly. She looks stunning, in a beautiful silver and white dress and blonde hair glossy as ever.

> **Katy:** Like bona fide royalty. _[ touching her chin ]_ No matter what the votes say.

Maya grins. She pulls her into an embrace.

**INT. MINKUS HOME - NIGHT**

JENNIFER MINKUS is nitpicking at Farkle, brushing off the shoulders of his navy suit jacket. He tells her to stop fussing, but she requests just one more second. She reaches up on instinct to fix his hair then remembers there’s not as much there as there used to be. Then she smiles, bracing his shoulders.

> **Jennifer:** Beautiful boy. Perfect.

The housekeeper claims that the driver is downstairs, so Farkle should start heading out. STUART MINKUS shares an exchange with him as he’s in the entryway, offering him a Minkus good luck charm. It’s a silver lapel pin, a little crest shape related to their family coat of arms.

Stuart carefully pins it to Farkle’s lapel.

> **Stuart: **You know, I wore this when I went on my first date with your mother – and look where we are now.
> 
> **Farkle, scoffing:** It’s not – this isn’t that kind of…

He doesn’t finish the sentence, letting it trail off. Stuart’s expression is amused, claiming he doesn’t quite buy it, but relenting for now.

When he finishes and smooths the lapel to crisp perfection, he takes a moment to really take in his son. Still with him, still standing in spite of everything that’s unfolded. It’s clear that there’s something he wants to say to him, heavy with the same weight that him sleeping at his hospital bedside all through his recovery held.

Yet, the words still don’t exist. Emotional expression has never been paramount in the Minkus household, and old habits die hard.

Instead, he pats his shoulder bracingly and wishes him luck. Jennifer comes to join Stuart as Farkle steps out, both of them wishing him a good time. Have some fun! This is your night of freedom, soak it up for all it’s worth!

> **Isadora, pre-lap:** I don’t see how much fun it could be when we’re being watched by faculty all night long.

**INT. ERIC’S APARTMENT - ISADORA’S ROOM - NIGHT**

Isadora is seated at the vanity in Eric’s guest room, the space she’s taken over while staying with him. It seems that per their last conversation, Eric is keeping to his word with Valerie and is giving Isadora an actual legitimate place to stay in the mean time rather than Blue’s couch.

She’s sitting impatiently as Lucas stands behind her, braiding pieces of her hair to complete her prom look. A hidden talent, perhaps? It looks pretty, to say the least. He plainly states that she’ll be having more fun than him no matter what, there’s little doubt about that.

As he wraps up the last braid, Isadora pulls on her Converse and carefully gets to her feet.

> **Lucas:** What, no heels?
> 
> **Isadora:** Are you kidding me? I think I’d break my ankles.
> 
> **Lucas:** Very “I’m not like other girls” of you.
> 
> **Isadora: **This is not about faux-originality, this is about my comfort and safety. As well as the safety of others.

The shoes hardly put a dent in the overall ensemble anyway. She’s in a gorgeous dark blue number, accented with a sheer layer of star patterns and custom designed by one of Valerie’s designer friends. It’s certainly not her typical ensemble, but she makes it work. Beautiful, but still a force to be reckoned with.

Lucas smiles, lightly punching her shoulder. He tells her she looks good, and she nudges him back before saying thanks.

> **Lucas, more serious: **Sorry I can’t be there. To be there for you.
> 
> **Isadora: **It’s whatever. Be sad for your own sake, not mine.

Eric calls for Isadora from the hall, the two of them heading towards the door.

**INT. ERIC’S APARTMENT - NIGHT**

Eric is adjusting his suit and tie in the hall mirror when there’s a curt knock at the door. He goes to open it, delighted to greet Farkle on the other side. He gestures him inside, Farkle awkwardly making his way in and stuffing his hands in his pockets.

Both of them soften when Isadora emerges from the hall, obviously exceeding expectations. Eric tells her that she looks great – Farkle says nothing, because he has no words. How are you _supposed_ to react when your intellectual sparring partner shows up looking like _that_?

For a moment, all of them just hang awkwardly in the living area. Lucas clears his throat, scratching at his neck. That’s as good a cue as any, and Eric claims they should get going if they’re going to get there early to help set up. The price they pay, carpooling with a chaperone.

Eric ushers them out, giving Lucas a pat on the shoulder and telling him he’ll drop him off at his destination for the first half of the evening. And away they go! As their door closes…

**INT. GARDNER HOME - NIGHT**

Another opens, Riley standing bright and smiling on the doorstep of the Gardner home. AMBROSE GARDNER takes care to greet her cheerfully and help her inside, asking if there’s anything he can get her.

She should be grateful that the sanest member of the family met her first. ELEANOR GARDNER excitedly comes in from the kitchen moments later, greeting her enthusiastically and wanting to know a million things about her. Of course, they’ve heard so much about her already – feels like Charlie is always talking about her!

From the living room, Rosie and DAISY GARDNER watch curiously.

> **Daisy: **She’s pretty.
> 
> **Rosie: **Yeah.
> 
> **Daisy: **How did Charlie manage to get _that_?
> 
> **Rosie: **Shh.

As if summoned, Charlie rushes down the stairs. He looks charming in his relatively simple tuxedo, the touches of purple in his tie and pocket square perfectly accenting Riley’s dress. She gives him a hug as he reaches the bottom of the stairs, all of the Gardners eyeing them as they interact in front of them for the first time.

And to be fair, they look lovely. They seem near classic, the picture of prom perfection… but it’s so… _boring_. Whatever spark of flirtation Eleanor thinks she’s seeing between them, it’s absolutely nothing.

Still, she insists on getting some photos before they go. Charlie is embarrassed, but he allows it. As they’re assembling against the wall by the door, he leans over to whisper to her.

> **Charlie:** Sorry about this. You look great, by the way.
> 
> **Riley:** Thanks. You too. And it’s fine. These’ll be great pictures to show my kids someday.

The choice of “my” rather than “our” is _very_ pointed. Charlie gives her a look, elbowing her and earning a giggle out of her. Eleanor captures the moment, claiming that’s the perfect one.

Then Charlie tries to plot their escape, claiming they really should get going. Ambrose thanks Riley for driving – Eleanor jokingly warns them not to stay out too late! A-wink!

Charlie looks like he’d rather be dead. Riley holds back her laughter as they escape into the night, the whole family sending them off cheerfully.

Once they’re gone, Ambrose and Eleanor exchange thoughtful looks.

> **Ambrose:** She seems nice.
> 
> **Eleanor, “knowingly:”** Mhm… pretty…

Yeah, she really thinks this is something else. As she saunters back towards the kitchen…

**INT. ORLANDO HOME - NIGHT**

* * *

**Song Cue ♫ ♪ “That’s What I Like” as performed by Bruno Mars || Instrumental**

The techie pre-prom gathering is in full swing, the techie jams playlist on shuffle as they get ready together and mingle. Some of their parents are also in attendance (and likely to have a party of their own once they get them the hell out of there), namely LEVI GARCIA, EMILY GARCIA, and of course RANDALL ORLANDO.

Randall subtly interrupts a conversation between Lucas and Jade, where she’s just finished commenting on how nice it is for this gathering to be snapback free. It’s true that Lucas does stick out like a sore thumb, in his plain old blue flannel and jeans rather than dressed up like the rest of them.

The two of them exchange a bit of small talk before Randall gets to the point, asking Lucas about how things are going. Considering the last he heard about everything was literally picking up Dylan from the police precinct because of the joy ride, it stands to reason that he would be interested in knowing since he’s let Lucas back in his home since then.

To his credit, Randall has also been more of a dad to Lucas than his own, in spite of how avoidant Lucas can be. So he tells him the truth, stating that it’s been better but it’s also definitely been worse. He apologizes for what happened with the joy ride, and assures him that he’s banking on that sort of thing never happening again. Randall gives him a nod and a pat on the shoulder, approving.

The moment is interrupted as Nate gets their attention, using a cooking spoon as a faux microphone as he plays MC. He thanks them all for coming (which Dave and Jeff jeer at) before claiming he has the distinct pleasure of introducing their host and his paramour for the evening, showing off their custom-made, never before seen Jade Beamon originals.

> **Nate:** First up – you know may know him as Dyl Pickle, vlogger extraordinaire, the deviant who once stuck a whopping thirty-two sticky notes to Shawn Hunter’s back in one class period. He’s as gay as they come, in every sense of the word. Host of the evening and renowned “kissing expert” –
> 
> **Asher, from upstairs: **NATE!
> 
> **Nate:** What? He told me to say it! Anyway, let’s give it up for the one-of-a-kind Dylan Blake Orlando.

All of them cheer theatrically as Dylan comes downstairs, sliding down the banister and hopping onto the bottom step. He shows off the suit jacket Jade made, looking even fresher and fun actually on him than just hanging in the costume loft. He spins and hams it up for a moment, then backs off so Nate can continue.

> **Nate: **Equally as effervescent, our other star of the evening is not to be discounted. He’s smart, he’s sharp, he’s the scariest person you will ever meet if you piss him off or forget to organize the paints in alphabetical order. King of production design, prop mix master, puts the Ash in Ash Cash Money –
> 
> **Dylan, taking the spoon: **The love of my life –
> 
> **Nate, taking it back:** Hey, this is my gig! I didn’t ask for ad-libs.
> 
> **Jeff:** Drunk on power…
> 
> **Nate: **_Anyway_, let’s give it up ladies and gentlemen for the only one of us with any class, Asher L. Garcia!

Asher jogs down the stairs, looking equally as iconic in his custom suit jacket. He does a small spin as well to give the item it’s due moment, Dylan cheering the loudest of all of them.

> **Randall: **Very nice, very good. Now, could I get a moment with my “gay vlogger sticky note” son?

The techies all cheer and laugh at his take, Dylan sliding across the hardwood to meet him. Jade and Asher link up, the former taking his hands and practically bouncing as she proclaims how good the suits turned out. They look amazing!

Lucas looks around at all of his friends, glammed up and excited. Distinctly left out of the excitement, only this time _not_ by his own choice. Somehow, that’s worse.

He’s pulled out of it as Nate declares they still have one order of business, the seven of them regrouping. Dylan slips back into the circle between Asher and Lucas.

> **Nate:** Now, as with any good tradition, we have some firsts to establish. And this shit is important – it may be the most important thing we do in our lives at Triple A.
> 
> **Jade:** Speak for yourself.
> 
> **Nate:** As we know, the prom court institution at Adams is royally corrupt. It’s the same shit every single year.
> 
> **Dave: **Nothing new.
> 
> **Jeff: **Same old shit.
> 
> **Nate: **And to that, the techie tots say no more. We will be crowning our _own_ reigning royalty this year, and that honor happens tonight. Without further ado –

For what it’s worth, the only two that don’t seem to know what’s happening are Asher and Dylan. They watch in confusion as Dave retrieves two pin cases from his interior pocket, handing them to Jade and Lucas respectively. Then they turn to face them, grinning wide at the stunned expressions on Dylan and Asher’s faces.

> **Nate:** Congratulations, Pickle and Bird Bones. You’re fucking royalty.

Jade and Lucas move forward, pinning the brand new charms to Asher and Dylan’s lapels, respectively. The pins are small medals, the band being monochrome like techie uniforms and the metal piece a small crown.

The true kings have been crowned. Whatever happens next hardly matters.

> **Jade: **Okay, we have to get out of here before Asher cries again.

Randall and the parents swoop in, insisting on one group photo before they all head out to wreak havoc. At first Lucas steps out of the photo, allowing them their classy group photo, but then all of them shout for him to get in the picture as well.

* * *

**EXT. ORLANDO HOME - NIGHT**

Dave leads the charge down the steps to the “party van,” i.e. their techie van they use for Home Depot runs. On the steps, Dylan and Asher hang back and check in with Lucas one last time.

> **Asher:** You sure you don’t want to come?
> 
> **Dylan, sing-song:** We could sneak you in…

Lucas knows they damn well mean it. But he waves them off, assuring them that he’ll be fine. They need to go have fun and not worry about him for a night.

* * *

**Song Cue ♫ ♪ “Good Love (Feel Like This)” as performed by Sir, Please || Performed by Nigel Chey (feat. Dave Williams, Nick Yogi, and AAA Juniors)**

And so it is. Asher gives him a pat on the arm and then they’re off, leaving Lucas on the steps alone. He watches his friends head out without him, bittersweet smile on his face.

As the groovy rock hit floats in…

**INT. PROM VENUE - NIGHT**

Prom roll up! The event is hopping, the large ballroom space beautifully decorated towards the stars theme and everyone’s appropriately matched outfits shimmering under the low lighting. The brightest lights are geared towards the DJ stage, which alternates between a sound system and live performances.

At present, Nigel is giving a riveting vocal performance while the junior and senior class parties on the dance floor. Dave is backing on guitar, Yogi on the keyboard, and other B Class students filling out the rest of the band.

Jade, Dylan, and Asher are right by the stage, Jade watching him perform with a mix of shyness and excitement. Every once in a while, he’ll look over at her and crack a smile.

Dylan and Asher are distracted when Isadora wanders over to join them, all of them immediately complimenting one another on their one-of-a-kind outfits. Dylan gives her a hug. Asher asks how it is being accompanied by Farkle Minkus, which Isadora claims isn’t terrible – but it’s not particularly enchanting either.

Meanwhile, Farkle has just met up with Riley and Maya. They ask him how his evening is going so far – is he having fun? It’s not too overwhelming, is it?

> **Farkle: **Oh, yeah. Sweaty room, loud music, constant surveillance, date who didn’t even want to go with me. Time of my life, girls. Undoubtedly.

On the opposite side of the room, Charlie has just made his way over to the refreshments. He reaches for the ladle for the punch just at the same time as Zay, their hands brushing before they look up and lock eyes.

For a moment, neither of them say anything. They just take one another in – well-groomed, nice tuxedos, the most they’ve even really seen of each other since the break-up – before Zay manages to say something.

> **Zay: **You look… classic.

Innocent enough. Charlie laughs nervously, nodding.

> **Charlie: **And you look…

He can’t finish the sentence. What’s he going to say? No word is good enough. And where they are right now doesn’t allow for him to say what he’s _actually_ thinking.

Thankfully, Maya swoops in and unwittingly throws him a life preserver. She interrupts their conversation, claiming that she needs for Zay to come dance with her lest people get the impression she can’t hold her own on the dance floor. She pays Charlie the same compliment in that he looks nice, before reminding him to vote Zay and Maya for prom king and queen!

> **Charlie: **Okay, if you keep saying that, someone is going to _murder_ you by the end of the night.
> 
> **Maya: **Attempted assassinations are just part of the job description.

Farkle regroups with Isadora, finding her amidst the crowd. The two of them stand in silence for a moment, absorbing the chaotic scene around them. Farkle eyes Jack and Eric across the room, talking to one another and not paying any attention to them, then leans down to whisper in Isadora’s ear.

> **Farkle: **You wanna get out of here?

Isadora looks around at her classmates and teachers before her gaze lands on Farkle. She smiles, somewhere between a smirk and genuinely sweet.

* * *

**EXT. COURTHOUSE - NIGHT**

Valerie emerges from the courthouse, seemingly in much better spirits than the last time she was there. She inhales a deep breath of fresh air, blithe smile on her face.

**INT. HOTEL SUITE - NIGHT**

Katy opens the door to her hotel room, surprised to find Val standing on the other side. She’s carrying a bottle of champagne and doesn’t wait for an invitation to march inside. She tells Katy to grab a couple of glasses, they are celebrating!

> **Katy, uncertainly: **Good news, I’m guessing?
> 
> **Valerie: **You know, in this industry, they tell you the most important thing is to hang on. Hang on by the skin of your teeth, dig your fingernails in, and never let go. Who would’ve known that applied to the rest of this crazy, mixed up world too?

Valerie pops the champagne and pours a glass for her and Katy, raising her glass.

> **Valerie:** I persevered, and only good things have come from it._ [ sublime ] _Isadora is going to be mine. We’re going to be a real family.

Katy happily cheers to that, both of them taking a drink from their glasses. They settle down on the couch in the suite, Valerie absolutely giddy with the news. She can’t wait to tell Isadora. Katy can imagine – she knows how important it is, having time with her baby girl.

An idea seems to strike Valerie in that moment, eyes widening. She reaches out and touches Katy’s arm, excited.

> **Valerie: **You’ll come stay with us.
> 
> **Katy:** Wh – what?
> 
> **Valerie: **Yes, yes, you’ll come back to New York and you’ll stay with us! You, me, Maya, and Isadora. The four of us will live together, four rough and tough, talented women surviving the concrete jungle as a team.
> 
> **Katy: **Oh, I don’t… I couldn’t –
> 
> **Valerie: **Katy, you belong _here_. In this city, with your daughter and your dreams. If I have proven anything in this endeavor, it’s that it’s never too late to change course and achieve something you never thought possible. _[ a beat ] _You belong in Manhattan, with Maya. Talent like yours shouldn’t be wasted in the farmland of Vermont.

Katy processes that, taking another sip of her champagne. If a Hollywood starlet is telling her she’s meant to be here, then who is she to refuse it?

> **Katy: **Alright. Alright, then!

Valerie claps excitedly, already abuzz with so many new ideas.

> **Valerie: **Oh, this is so exciting. This is amazing! Isadora and Maya are going to be over the moon. This is a bigger deal than when my good friend and mentee Lizzo basically single-handedly saved the R&B industry.

She raises her glass again for another toast. Katy grants it, their glasses clinking together.

**INT. PROM VENUE - NIGHT**

* * *

**Song Cue ♫ ♪ “Dance Again” as performed by Selena Gomez || Instrumental**

The lighting is more aesthetic and dimmer as the prom goes on, the junior class out grooving on the dance floor. We get shots of different combinations of them dancing – Charlie is with Haley and Clarissa, Jade and Nigel are giggly as they get comfortable with one another, Dylan and Asher are upholding their reigning title as cutest couple.

In the midst of the festivities, Eric grows concerned as he realizes he can’t find Isadora. Farkle is nowhere to be found either – and that’s because they’re not there. They’re long gone, someone having disappeared right under his nose.

Eric grabs Riley from the edge of the dance floor, asking if she’s seen either of them. She claims not since they first got here… is everything okay? Eric doesn’t respond, pushing through the crowd to try and get a better look.

He’s surrounded by teenagers, and yet none are the two he’s specifically supposed to be keeping an eye on. Just as he’s on the verge of panic, Jack comes to his side and asks what’s going on. What’s with the look on his face?

> **Eric, breathless:** Isadora – and Farkle – they’re not – I can’t find –
> 
> **Jack: **Okay, relax, alright?
> 
> **Eric:** Relax? I _lost_ two children!
> 
> **Jack: **Okay, we’ll find them. Alright?

Jack drags Eric out of the center of the room, passing by HARPER BURGESS as they go. He tells her she’s in charge, guiding Eric out of the venue.

* * *

**INT. LUCAS’S APARTMENT - LIVING AREA - NIGHT**

Lucas emerges from his room with a box, sleeves rolled up to his elbows and clearly down to business. He and GRACE FRIAR are operating with relative ease, indicating that their third household member isn’t home at present.

He places the box on the table in front of her, claiming that he’s gone through it and he needs her to go through it too so they can decide whether or not to donate it. Grace seems intrigued, but not opposed to the idea.

> **Grace: **Spring cleaning?
> 
> **Lucas: **Something in my life might as well be in order.

She chuckles a bit at that, although the joke is admittedly somewhat dark. She starts going through the contents, hesitating before telling Lucas she’s sorry that he didn’t get to go to prom. He shrugs it off, but his aloof facade has worn thin over the week.

Grace gives him a warm smile, stating that he’ll be able to go next year.

> **Lucas:** Yeah, let’s see if I make it through this year first.

Valid point. Lucas leaves her to keep going through the stuff, agreeing they should get rid of it either way before Kenneth gets back.

**INT. LUCAS’S APARTMENT - LUCAS’S ROOM - NIGHT**

Lucas steps back into his closet of a bedroom, sighing at all the junk there still is to go through. He frowns when his phone vibrates in his pocket, growing even more confused when he sees who is calling. He answers.

> **Lucas:** Hello?

Jack is on the other end of the line, already on the road with Eric.

> **Jack:** What are you doing right now?
> 
> **Lucas, flatly: **Crystal meth.
> 
> **Jack: **Okay, you jest, but you’re really not in the position to be making those kind of jokes right now.

Lucas asks what’s going on, and Jack explains the situation. He asks if Lucas has seen or heard from Isadora, and he says no. When Jack requests that he go search that side of town, just drive around and take a look, Lucas seems skeptical.

> **Lucas:** Aren’t you forgetting? My license is suspended.
> 
> **Jack, unimpressed: **Am I really supposed to believe that makes a difference?
> 
> **Lucas: **… fair enough. I’ll do whatever.

Jack assures him if he gets into any trouble, he’ll help him out of it. They just need to get a trace on them so Eric can breathe again. Lucas grabs his denim jacket, heading out.

**INT. DINER - NIGHT**

Isadora and Farkle, thankfully, are not engaged in anything remotely nefarious. They’re just making an evening out of it all their own, having escaped prom to seek refuge at a non-descript diner across town.

Farkle is way more enthused by the prospect than Isadora. He’s practically jittery, tapping his fingers on the table and unable to stop grinning. He claims this is the most fun, the most _freedom_, he’s had in months.

> **Isadora: **Okay, calm down, edgelord. It’s not that deep.

Oh, but perhaps it is, Isadora. Farkle leans further into the theatricality, dramatically stating that he doesn’t think there’s ever been a night quite like this. Full of this… energy, and mystery, and potential. Can’t she feel it? In homage to the number that’s just about to come into play, Farkle sits up so that he’s sitting on the booth seat, rather than in it.

> **Isadora: **Okay, what are you doing? Sit down.
> 
> **Farkle: **Can’t you just feel it? And how… how we start _thinking_ –
> 
> **Isadora: **Start thinking what?
> 
> **Farkle:** How wonderful it all is.
> 
> **Isadora: **How wonderful _what_ all is?
> 
> **Farkle:** _Everything_.
> 
> **Isadora: **Now you’re just talking nonsense. Did you take too much medication this morning? What are you on?

He, Isadora, is on life. The freedom of tonight, how good it feels to just be out and adventuring and… _alive_. In fact, he thinks, it might need some expressing…

* * *

**Song Cue ♫ ♪ “A Lovely Night” as performed by Cinderella Original Television Cast Recording || Performed by Farkle Minkus (feat. Isadora De La Cruz) [ starting at 4:20 ]**

Farkle pushes his way out of the booth and starts sauntering through the diner, Isadora leaning out after him and whispering for him to come back. But he’s already on his way as the instrumental comes in, meaning there’s no hope. This singing train has left the station!

So he kicks off the first verse, singing the fantastical lyrics about how absolutely perfect the evening is. Somehow, it actually works, brightening up the drab, everyday diner and adding a splash of something special and unique.

It helps that Farkle is crazy and completely unapologetic as he takes over the space, the other patrons hesitant at first but then endeared by the performance. Farkle sings the first line about a “charming prince” to a gaggle of middle school girls, who all collectively lose their shit when he turns away from them. To them, for all intents and purposes, all suave in his prom suit and singing so elegantly, he _is_ a prince charming.

Isadora might be starting to figure that out too, as she watches in disbelief while Farkle pulls other diners and workers into brief stints of choreography. By the time he makes it back over to her table in the second verse, he leans forward on the table and sings the lines _“darling, I love you”_ while looking right into her eyes.

Part of the whole act? It’s impossible to tell.

Then he pulls her up from the booth, into dancing with him through the diner as the dance break commences. Although she’s hesitant at first, Isadora is more surprised by how _not_ averse to the experience she is. Farkle is a good dancer, at least this kind of dancing, and it’s not long before she finds herself grinning and laughing along.

They spin their way towards the front, right out the doors…

**EXT. DINER - NIGHT**

And out into the city, the world aglow with nightlife and even more emphasized by the unreal quality of the dance. It feels very _La La Land_. They continue the pas de deux through to the end, Farkle picking up the lyrics again for the final rendition of the chorus.

They end it spinning in a circle in the parking lot, Isadora laughing and Farkle truly free as they round out the performance. If there’s going to be any true spectacle this prom season, then Icarus and the fallen Techie Queen dancing together in what may as well be a fantasy sure takes the cake.

* * *

**INT. JACK’S CAR - MOVING - NIGHT**

Eric is not feeling the fantasy, a nervous wreck as they drive through the streets looking for signs of Isadora and Farkle. He relays that she has not responded to any of his texts, and Jack states that’s it. He pulls over, allowing him to give his focus to Eric as he parks on the side of the road.

Jack takes Eric’s phone, out of his grasp.

> **Jack:** Enough. You’re driving yourself crazy.
> 
> **Eric: **Yeah, you’re one to talk. _[ trying to snatch it back ] _Mister obsessive civil suit –
> 
> **Jack: **Oh, I’m not saying I’m innocent. But you have got to give yourself a break. It was their choice to sneak out and go wild, not yours. You can only do so much. If they choose to be idiotic, that’s on them. Regardless of how much we care.

Eric knows that Jack is speaking from experience. He sighs, slouching back in the passenger seat. Jack tries to comfort him, reminding him that Isadora and Farkle are two of the smartest students at AAA. They’re not going to get into trouble. Besides, if they are, then at least they have their best troublemaker on the case.

> **Jack: **He’s like a heat-seeking missile. If there’s mischief afoot, trust me, I believe he’ll find it.

**EXT. NEW YORK STREETS - NIGHT**

Maybe so, Jack. Maybe so. Somehow, Lucas manages to catch up to Isadora and Farkle as they’re walking along the streets, slowing down in Grace’s car and coming up next to them. He honks, startling them both.

> **Lucas: **Hey! Lunatics!
> 
> **Isadora: **_Lucas_? What the hell are you doing here?
> 
> **Lucas:** I could ask you the same question.
> 
> **Farkle: **Isn’t your license suspended?

Lucas holds up a finger to silence Farkle, not acknowledging his question. He keeps his focus on Isadora, who is similarly confused.

> **Isadora:** Isn’t your license suspended?
> 
> **Lucas: **You tell me. You tell me what the hell you’re doing walking around like freaks and sending Eric so postal Jack had to send me out here risking future legal penalty to come _find_ you.
> 
> **Farkle: **Hey, I mean, we _snuck_ _out_ of prom. _[ holding his arms out ]_ Don’t I get a little credit for that, Lucas James Friar?

Lucas glares at him, unimpressed.

> **Lucas, sharply: **Don’t talk to me like you know me.

Farkle raises his hands in surrender, turning away. Lucas turns his focus back to Isadora.

> **Lucas: **Tell Eric where the hell you are and that you’re not dead. At least pay him that decency.
> 
> **Isadora: **Alright! Alright, I will. Sorry you got dragged into it.
> 
> **Lucas: **You’re so lucky I have no life.

Lucky, indeed… Lucas drives off, leaving the two of them alone again. Isadora shifts awkwardly, Farkle hesitating before giving her an unbothered smirk. Woo, reckless freedom!

**INT. JACK’S CAR - NIGHT**

Jack gets the text from Isadora on Eric’s phone. He smiles and then passes it back to him, telling him that now he can breathe again.

And so he can. Eric lets out a huge sigh of relief, falling back against the seat and rubbing his face. These kids, are they ever gonna let them live? Once he’s pulled himself off the ledge, Eric drops his hands and asks what they’re supposed to do now.

Now that they’re already out? Well… Jack shrugs.

> **Jack: **You like bowling?

**INT. PROM VENUE - NIGHT**

* * *

**Song Cue ♫ ♪ “Magic” as performed by Gabrielle Aplin || Performed by Yindra Amino**

Things slow down back at the prom, allowing the students to shift into a slow dance. Before Riley and Charlie can make any decisions, Zay swoops over to them to cut in. For a second it seems as though he might ask Charlie, in front of everyone… but he simply requests a dance with his favorite girl at AAA. Charlie relents without an argument, allowing him to steal Riley.

> **Riley: **Sweet of you to say all that. And…
> 
> **Zay: **And I will give anything not to slow dance with Maya, yes.

Charlie shifts his sights to Haley, offering a hand to her. With their former conversation having cleared the air, the two of them are able to simply enjoy a dance together rather than twisting themselves up over what it might mean.

Yindra’s vocals truly help set the mood. The types of slow dancers are all across the spectrum. The soft familiarity of Dylan and Asher, whispering in each other’s ears and smiling and tilting their heads against one another; the timid beginnings of Nigel and Jade, more distance between them but equally as happy to be sharing the dance. Then there’s Maya, not bothering to slow dance at all and continuing her campaign amongst the other single prom-goers.

While Zay and Riley dance, they softly discuss how the evening is going. Riley subtly makes it clear that she is no way moving in on Charlie – they should both be well aware how unlikely _that_ would be. Zay holds no such suspicions. After all…

> **Zay: **Think you and I are both here while our hearts are somewhere else.

Couldn’t have said it better, Isaiah. Tellingly, while Haley and Charlie are having a swell enough time dancing together, he cannot seem to keep his gaze from drifting towards Zay over her shoulder…

Yindra brings the number home, delivering yet another dazzling performance.

* * *

**INT. BOWLING ALLEY - NIGHT**

_Pow!_ A bowling ball knocks over a volley of pins, shattering the dreamy melancholy of prom.

Jack and Eric have already played one game, crashed in one of the tables by the lanes and sharing some cheap bowling alley snacks. They’re also drinking and… okay, they might be a _tad_ tipsy. They’re laughing as they chat about the evening, more relaxed than we’ve ever seen them. They could almost be teenagers themselves, just wasting away prom night at a bowling alley and blowing off expectations.

Eric complains about Isadora and Farkle’s actions, still not over the sleight. Like he gets it, they’re teenagers, but really? Jack chuckles, shrugging and claiming it’s just that kind of night. He can remember how he used to be – Lucas really isn’t that far off from how he was at that age, although the kid is _way_ more ballsy than he was.

Besides… there’s something about prom night, man. It makes people do crazy things.

> **Jack:** I was never super into it, but… ha. I remember senior year, me and the guy I was going with –

Eric nearly chokes on his drink. Jack raises his eyebrows, handing him a napkin in concern.

> **Jack:** You okay?
> 
> **Eric: **Yeah. Yeah, I just – [ clearing his throat ] Guy? You went with a guy?
> 
> **Jack:** Oh, yeah. Administrators weren’t thrilled about it at the time though._ [ off his stunned expression ] _Oh, come on. You know I’m bisexual. We’ve totally discussed this.
> 
> **Eric: **Um. No. No we have not.
> 
> **Jack: **We definitely have.
> 
> **Eric: **Jack, I would _not_ have forgotten that. Believe me.

Jack shrugs, smiling to himself and taking another drink. Eric just stares at him, trying to reconcile this new understanding he has of his friend and co-worker in his head. He starts to say something, then thinks better of it. Lost for words.

The music on the sound system of the bowling alley saves him from having to speak. As soon as the song starts playing, both of them react with joyful acknowledgement.

* * *

**Song Cue ♫ ♪ “Bye Bye Bye” as performed by *NSYNC || Performed by Jack Hunter & Eric Matthews**

At first the two of them just reminiscence, talking about how classic this song is. Speaking of hits of their youth, this was _it_ in the college days. But as they casually start singing along in their seats, just like their students (and maybe thanks to the alcohol), the groove overtakes them.

Eric jumps to his feet first, crouching on his seat and launching into the second verse. Jack cracks up and claps, encouraging the dramatic performance. Eric manages to pull him into it as well, the two of them delivering the rendition with the same gusto as their overdramatic students.

**INT. BYE BYE BYE DREAMSCAPE - NIGHT**

In their folly, it would only be fair to give them the same imaginative scape as their students. Part of the performance is a fantasy tribute to the “Bye Bye Bye” music video, Jack and Eric dressed as if they’re back in the early 2000s and dancing around a tilting room.

**INT. BOWLING ALLEY - NIGHT**

We cut back and forth between that and them wreaking mild havoc in the bowling alley, and gosh dang is it a fun performance.

* * *

That’s one way to cut loose for a night. Let’s go principal and counselor!

**EXT. HOTEL - NIGHT**

Farkle walks Isadora to the front stoop of the fancy hotel Valerie is staying at, although she tells him that he didn’t have to. He claims as her date it was his duty – even if their arrangement wasn’t exactly by choice.

> **Isadora: **Well, impressively, I did actually have fun.
> 
> **Farkle:** Oh?
> 
> **Isadora: **Yes. I don’t expect the enchantment to last past midnight, but it was fun while it lasted._ [ a beat ]_ I suppose I’m glad that I had to babysit tonight.

Farkle rolls his eyes. Isadora looks at him for a long moment, and then stands on her tip-toes to give him a quick kiss on the cheek.

He blinks, obviously not expecting it. After a moment he kind of smiles, caught between a confused frown and a pleasantly surprised smile. He looks at her, narrowing his eyes.

She gives him no explanation. She just tilts her head in a nod and marches through the revolving door, leaving him on the sidewalk. He glances up at the building, smile widening as he spins on his heel and saunters down the street.

**INT. PROM VENUE - NIGHT**

Clarissa and Haley are just wrapping up a performance, dismounting the stage as Harper heads up to the microphone. She warms up the crowd by asking how everyone is enjoying prom, which is met with resounding cheers. The time has come, she announces, for the crowning of their junior and senior prom court!

Amidst the cheers, Charlie shifts his focus to Riley next to him. She’s zoned out, glancing over her shoulder and not paying any attention. Looking for someone who isn’t going to be there, no matter how many times she looks.

After a moment, he elbows her lightly.

> **Charlie: **You should go.
> 
> **Riley:** What? What do you mean?
> 
> **Charlie: **I appreciate what you did for me tonight. But we both know… you don’t want to be here. Not really. _[ nodding towards the door ]_ So you should go. Don’t waste the rest of your night on me.

Riley examines him, thoughtful. Then she smiles, taking his arm and leaning forward to give him a kiss on the cheek. She squeezes his arm.

> **Riley:** Never a waste.

Then she’s gone, weaving her way through the crowd and on a mission. Charlie watches her go, and when he turns back to the crowd and the excitement of the senior prom court being announced he suddenly feels very detached. Like he’s a fish out of water, as if he shouldn’t even be there at all.

It’s claustrophobic. Charlie starts to push his way through the crowd as well, searching for an exit. Needing to get out of there.

From where he’s waiting with Maya, Zay notices Charlie’s frantic escape. He frowns, hesitating for only a moment before darting out after him. Only Maya notices him go, looking after him in confusion.

> **Maya, in a whisper:** Zay. Zay!

He’s already gone. And her attention is stolen anyway, as Harper gets a drum roll going for the announcement of junior prom queen and king. It goes, unsurprisingly… to Maya and Zay!

Only Zay is nowhere to be found. Lucky for him, Maya is an expert showman and covers as if it’s nothing. She hops up onto stage and happily accepts, claiming her king had to dip out for a moment and she’ll be accepting both on his behalf.

Once she’s found a way to balance both crowns on her little blonde head, she takes to the microphone and gives a small speech about what an honor it is to be selected. And in return, tonight, she’ll give them a prom slow dance really worth remembering. As the track cues up –

* * *

**Song Cue ♫ ♪ “At Last” as performed by Beyoncé || Performed by Maya Hart**

As obnoxious as she is, there is no doubt about the fact that Maya Hart can sing. Her vocals are damn good on the romantic classic, truly creating a perfect final slow dance for the evening. And she’s milking every second of it, glamorous as ever in her elegant gown and dual crown glory.

**EXT. PARKING LOT - NIGHT**

Charlie has made his way to a mostly vacant section of the parking lot, inhaling as much fresh air as he can. He holds his breath, then lets it out, fighting off whatever strange panic was prickling at him.

It doesn’t truly fade until Zay joins him, approaching casually and claiming that he’s missing Maya’s big performance. Isn’t that what he came all the way out to prom for anyway? Charlie can’t help but laugh, even though the vibe between them is still uncertain.

> **Charlie:** Oh, naturally. Everything’s about Maya Hart, after all.
> 
> **Zay: **Absolutely everything, yeah.
> 
> **Charlie: **_[ just looking at him ] _… shouldn’t you be in there too, then? Far as I recall, you were her running mate.
> 
> **Zay, with a shrug:** I didn’t really care much about it.

Zay is stepping closer with every word that passes between them.

> **Charlie: **… no?
> 
> **Zay: **Nah. I mean, can’t blame Maya though. She knows how to pick a winning candidate.
> 
> **Charlie: **Well, no arguments here. Sure you don’t want to get your crown, though? Think that would be a nice prize regardless.

They’re standing right in front of each other. Zay swallows, meeting his eyes.

> **Zay:** I can think of something better.

Charlie lets that sink in, not sure how to respond. Knowing that they’re the way they are for a reason… but then there he is, right there in front of him…

Zay doesn’t ask for much. He gently takes Charlie’s hands, pulling him towards him and into a slow dance. There in the parking lot, alone, where nobody else is going to bother them.

Charlie is stiff at first, then slowly he relaxes into it. The familiarity, the ease, the way they seem to just naturally fit together… especially when it comes to dancing.

Still, something in his expression is conflicted. It’s obvious he loves it – being so close to Zay, sharing anything with him regardless of what their status is – but then that’s the problem, isn’t it? As long as Charlie is around him, he’s never going to be able to let it go. They’re going to keep drifting back to each other like this, and Zay is never going to be able to move forward.

Charlie realizes all of that… and yet.

For now, he chooses to live in the moment. He tilts his head against Zay’s shoulder and chooses to soak it up for all it’s worth, the dance and the closeness and the way he continues to choose him, even when he pushes him away.

Everything else, he can deal with another day.

* * *

**INT. VALERIE’S HOTEL ROOM - NIGHT**

Isadora has changed back into more comfortable clothes, Valerie hanging her dress up so that it stays nice and unruffled. After all the hard work Stella McCartney put into it, she would hate for it to only survive one use!

Then Valerie settles on the bed with Isadora, telling her the good news. The paperwork went through – they’re on their way. She just has some things she needs to go wrap up last minute in Los Angeles, and then they’re going to do it. They’re going to be a proper mother and daughter, she’ll move to the city, and everything is going to change. For the better, she’s sure.

Isadora is stunned just to hear it said – she can’t begin to wrap her head around it in reality. But she manages action, leaning forward to initiate a hug with Valerie.

She hugs her back, tight, so excited about the next steps they’ll be taking together.

**INT. LUCAS’S APARTMENT - LUCAS’S BEDROOM - NIGHT**

Well, for only a night’s work, Lucas has made substantial progress on organizing his hell bedroom. You can actually see the floor now in most places, which is a step up. Maybe one solution to not having horrible mental health is to _not_ feel like you’re living in an abandoned storage closet. Music is playing from his phone, shuffling the playlist Riley made him last year.

He finishes clearing the floor by the actual closet door, finding Riley’s gala shawl. He holds it in his hands, delicately, trying to decide what to do with it. It’s survived this long, in spite of all the times he’s thought about destroying it – to get rid of it now would almost be a disservice.

He’s distracted from the decision for now, his phone buzzing. He settles onto his bed, putting the shawl to the side towards his pillow and opening the message.

* * *

**Song Cue ♫ ♪ “Ebony Eyes” as performed by Jamie Scott || Instrumental**

It’s from Dylan, a group picture of the techie crew in the midst of the glitz of prom. The caption underneath it is simple and to the point – **“We miss you!!!!!!!”**

Lucas can’t help but smile, but after a moment it shifts to something more muted. The disappointment is clear on his face now, fully realizing how much he might be missing out on. How much he’s missed out on for the entire year, while he was busy fighting to survive his own personal hurricane. And there’s no way to get that back – there’s no way to know if it’ll ever _stop_ hurricaning, given how up in the air everything feels.

He’s distracted once again from his own internal musing, this time by creaking from outside his window. At first he glances towards his door, worried it might be someone coming home, but an additional creaking confirms it’s coming from outside. It’s coming from the fire escape.

Cautiously, Lucas gets to his feet, edging towards his window. He nearly jumps out of his skin when Riley appears from the ladder below, scrappily climbing her way up to his level.

**EXT. LUCAS’S APARTMENT - LUCAS’S FIRE ESCAPE - NIGHT**

Lucas scrambles out the window to meet her, eyes wide in disbelief. She smiles at him as he emerges and she manages to pull herself fully onto the fire escape. There’s barely room for them both to stand, Lucas taking her arm and pulling her as far from the window – and his apartment – as possible.

> **Lucas: **What the hell are you doing here?

Riley blinks at him, trying to catch up with her own choice of actions. She’s changed out of her fancy gown, hair and makeup still done up but having opted for a pair of high-waisted jeans and a thrifted tee. Better attire for building scaling, at least.

She explains that she couldn’t stop thinking about him and how he was missing out, so she decided to bring some of the fun to him. She shrugs off her backpack, unzipping it and showing off some of the snacks and movies and junk she threw in there along with her laptop. She didn’t have a lot of specific ideas, or anything, she just thought… who knows. She just knew she wanted to be here.

Lucas is in shock. He can’t believe any person would ditch prom without some other grand plan, and definitely not for him.

> **Lucas: **That’s… that’s nice, but you shouldn’t have to do this. You should be at prom, having fun. Least of all worrying about me.
> 
> **Riley, shaking her head: **Wasn’t the same without you.

Oh. Well then. Riley glances towards his room, recognizing the music playing and smiling to herself. She comments that at least he has good tunes to get him through the night, and the slower, rustic song playing now is better than about half of the songs they played at the dance.

In fact… she did say she was going to bring the evening to him…

Dropping her backpack by the window, Riley cautiously takes Lucas’s hands. When he doesn’t complain, she gently guides him into a dance of their own – a promenade on six square feet of metal with a shitty outdated iPhone speaker acting as the DJ.

Even still, it might be the most authentically romantic duet of the night. The music quality shifts and improves to be more encompassing as they settle into the dance, once again supplemented by that fantastical quality of the evening. Secluded enough for Lucas to ease into it, more intimate than a room full of their peers would allow.

After a minute or so, Riley adjusts their posture and presses their foreheads together. For how soft the moment is, the energy between them may as well be electric. They’re inches apart, one or two breaths and a bold choice away from another kiss. And maybe they could…

But not tonight. Not yet.

Riley shifts and rests her head against his shoulder, Lucas closing his eyes and tilting his head against hers.

For now, what they have in this moment together is enough.

* * *

**INT. AAA - ATRIUM - DAY**

Crazy how in the aftermath of such a whimsical weekend, life is expected to proceed as normal. Jack is in good spirits as he jogs his way into the school building later than usual, pushing through the doors at the same time as Lucas. Lucas comments on his late showing.

> **Jack:** You know, for all the times you’ve shown up to class tardy with no good excuse, I think you can zip it on this one.

Touché. Jack does remember to thank Lucas for his help with Farkle and Isadora though, expressing that it was a big help. He asks how he spent the rest of his evening – aside from the crystal meth.

> **Lucas, nonchalantly:** Nothing much. And you?
> 
> **Jack: **Got kicked out of a bowling alley.
> 
> **Lucas: **… fun. Respect.

Jack grins, nodding him on his way. He makes his way back into the office…

**INT. AAA - JACK’S OFFICE - DAY**

Where the real world is waiting for him. Jack is surprised by the gift-wrapped item on his desk – until reality slams into him like a freight train. He drops his briefcase and jogs towards it, lifting the ribbon-bound local newspaper into his hands.

There it is. The Bradford case, front page Monday morning news. Likely paid a fortune to make it front page news, if he knows his adversaries.

It’s officially gone public. The fantasy is over. Another day has arrived, and now it’s time to deal with all of the challenges ahead.

Now, it’s time to take action. For better or for worse.

** _END OF EPISODE._ **


	16. Final Run [ 2.12 ]

**Summary for the Chapter:**

> CURTAIN CALL – The complications surrounding Lucas’s presence at Adams reach a climactic pitch. Jack makes one last desperate maneuver. Riley and Isadora orchestrate an opposition, but true help comes from an unlikely ally. Someone says goodbye to AAA.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**EXT. NEW YORK STREETS - DAY**

The bustling streets of Manhattan, familiar as we’ve come to know them over the last two seasons. It’s the calm tranquility of Central Park; the humble exterior of Chubbie’s diner. The streets surrounding Adams Academy for the Arts, less traffic than usual on a Monday morning.

It’s home, for all intents and purposes. It’s the place we’ve come to know as familiar, as safe, a place to curl up and stay for a while. Yet there’s an uncertainty in the air, a tension that can’t be named but that permeates every formerly comfortable atmosphere. The sounds of the city are muted, feeling distant and far away.

It’s home, but it’s no longer safe. There’s a threat, imminent, and the way things are as we know them might be destined to come crashing down.

> **Jack, loudly: **This is _wrong_!

**INT. SCHOOL BOARD OFFICE - DAY**

JACK HUNTER is pacing the office of EVELYN RAND, in a heated debate with another school board member. This is JEFFERSON DAVIS GRAHAM, an older, old-fashioned type who plays by a dated playbook. He seems unmoved as Jack goes head-to-head with him, remaining neutral in a way that demonstrates poise but also lack of compassion. It’s easy to be level-headed, because he simply doesn’t care about the details.

They’re arguing fiercely about the Bradford case, now a school board issue since it’s gone public. Evelyn listens carefully to both sides, seated at her desk and processing the arguments. It’s hard to tell what way she’s leaning – one of her great strengths as head school board member.

As far as Graham sees it, this issue is a mess for no reason with a simple solution – remove the problematic entity, give the paying student the spot. What issues could possibly arise from _more_ money being poured into a school? Besides, if it gets rid of a troublemaker, then even better.

But Jack fires back that it’s not about money. It’s the principle of the thing. What they do in this situation will set a precedent for the rest of Adam’s existence as a private institution.

Graham thinks Jack is being ridiculous, which is odd considering he’s always admired his level head and authoritarian approach. This whole thing is _particularly_ ironic, given the student who ended up at the center of this case.

> **Jack: **Ironic? I fail to see what’s so –
> 
> **Graham: **You used to _hate_ this boy, Jackson! You think I don’t recall how often you’d come into this building seeking advice or just looking for a place to lament how you were _saddled_ with this Lucas James Friar?

Jack grimaces, looking away. Graham continues on, making his point.

> **Graham: **When you allowed this delinquent into your school in the first place –
> 
> **Jack:** He is not a delinquent –  

> 
> **Graham:** It was only after _much_ debate and counsel from the people in this directorate, including yours truly. And do you remember what I told you then, Jackson?
> 
> **Jack, quietly:** That’s not what this is about.
> 
> **Graham: **I told you don’t bother. So he’s a sob story – there are ten kids just like him on every block in this city. You take him in, you take on that burden, then you’ll have to deal with it. And boy, did you. The way you used to _complain_ –
> 
> **Jack: **That’s not what this is about!
> 
> **Graham: **So guess what, this should be good news! You’ve been given a golden opportunity to turn back the clock, to take the advice of your elders and make the smart decision. Let them take the problem off your hands, take the money, and move on!

Jack snaps that it’s not about what choices he made three years ago. This is an issue of _integrity_, and it’s about the students above all else. What does it say if a wannabe student with a huge paycheck can just oust another student? That’s not how Jack wants his school to be run, regardless of how much money it brings into their pockets.

Evelyn finally speaks, cutting both gentlemen off. She claims they’ll have plenty of time to debate this on the counsel floor – she’s taking the decision out of Jack’s hands. Considering the matter has gone egregiously public and is causing more trouble than it should, the school board will vote on the issue instead.

Jack does not seem pleased by this development. Graham agrees, nodding curtly and allowing himself out. Evelyn grows a bit more sympathetic, expressing to Jack that he still has the chance to make his case. He just needs to make sure it’s good enough to get the right amount of people on his side.

> **Jack, determined:** I will.

* * *

**Song Cue ♫ ♪ “Love Runs Out” as performed by OneRepublic || Performed by Jack Hunter**

The heavy instrumental opening settles upon us, accenting Jack’s exit from the office. Evelyn watches him go, expression still difficult to discern.

**EXT. SCHOOL BOARD BUILDING - DAY**

Jack emerges from the building, taking a deep breath. Then he launches into the opening verse, jogging his way down the steps. He’s walking with purpose, not wasting a second as the clock ticks down on Lucas’s fate at AAA – and the fate of the school itself.

**EXT. NEW YORK STREETS - MONTAGE - DAY**

Then Jack is truly on the move. A montage of transitions shows him making his way all around town, doing small press interviews and meeting with school board members for lunch or coffee. He’s putting in favors wherever he can, making his case, shaking hands and running up and down the island to gain favor.

Any bit of traction he can, every little bit helps.

On the bridge, Jack comes to a slow stop outside one of the buildings in the financial district. He tries to catch his breath, distracted by the newspapers on display at a local stand.

The Bradford case is still there, front page news. The Bradfords themselves have now taken up a bulk of the page space, but that school portrait of Lucas is still tucked amidst the story. It seems to stare at Jack, reminding him of everything he’s fighting for. The integrity of it all, yes – but the personal reasons, too.

So Jack takes off again. Another whirlwind of meetings, of sleepless nights, running and running himself into the ground.

* * *

He’s going to take this case down, if it’s the last thing he does. He’s going to keep Lucas at AAA – or else die trying.

** _Cue title sequence._ **

**INT. AAA - BLACK BOX THEATER - DAY**

Class is assembled for the final week, all of the A class except Lucas present. HARPER BURGESS and SHAWN HUNTER have taken front and center, leading a discussion about what this final week is going to look like.

First things first – the elephant in the room. Most of them have read the Friar-Bradford story for themselves now, and Harper and Shawn give them all the information they have at present. This includes the development about the school board getting involved – more or less, they will be holding a “trial” at the end of the week to determine whether Lucas will be asked to leave the school in the midst of this “scandal.”

The class is not happy to hear this news. RILEY MATTHEWS is stunned, unable to believe it. The techies are downright livid, considering one of their own is on the chopping block – and their _leader_ at that.

> **Nate: **This is bullshit!
> 
> **Shawn: **I’m not going to argue with you on that.
> 
> **Dave, dumbstruck:** They can’t just take Lucas away.

Most of the performers agree this whole thing is stupid, and Maya acutely points out the grander question that permeates this case.

> **Maya:** So, what? Can anybody just take our spot if they bid enough and dig up enough dirt? What does this mean for us?

A bit of a selfish perspective, but valid. Harper states it’s a bit more complicated than that, but how all of this will affect how AAA operates remains to be seen. One thing is certain, though – whatever happens will set a true precedent for years to come.

That aside, Shawn explains that all of this is part of the reason they’re opting to do solo, private performances for final projects this year. They know there’s a lot going on, and a one-on-one, low-stress environment for a final performance feels like the appropriate move. They can sign up on the sheet on Harper’s desk.

**INT. AAA - HALLWAY - DAY**

ISADORA DE LA CRUZ is marching through the halls, teeth grit and eyes blazing. She tries her best to ignore the chatter of other students as she goes, overhearing bits and pieces of their commentary on the Lucas situation.

No one has seen him since the trial element broke, and many of them figure he just won’t ever come back. He hates it here anyway, and the case the opposition can build against him is so easy to make. A few students even say good riddance, not caring about the implications either way.

Isadora forces herself not to engage, continuing her journey across the school.

**INT. AAA - ERIC’S OFFICE - DAY**

She arrives in the office, demanding that ERIC MATTHEWS help her. She wants to know what she can do in regards to the case against Lucas. Anything. She’ll do anything.

Unfortunately – and it truly seems to pain Eric to say it, although he hardly seemed surprised when Isadora spoke – there’s not much they can do.

> **Isadora: **See, you’re always saying that. Why are you always saying that?
> 
> **Eric: **Isa, believe me, I understand where you’re coming from. Do you think that if I knew a way to fix this situation, I would be sitting here twiddling my thumbs? If it could help Lucas, and Jack –

He cuts himself off, shaking his head. He pulls it back together, Isadora backing off a bit in terms of her intensity. This isn’t Eric’s fault, and she knows that. The last thing they need is to start turning on one another.

For now, this is something they just have to let the adults handle, and Eric can vouch that Jack is trying his damnedest. But as Isadora points out…

> **Isadora: **No offense, but when have adults in power ever done anything right?

Fair… fair. Eric shrugs, wishing he could say something more constructive. But for now…

Isadora huffs, storming out.

**INT. AAA - AUDITORIUM - DAY**

ASHER GARCIA and DYLAN ORLANDO are also on the move, racing their way through the auditorium. They’re calling for Lucas as they go, refusing to sit idly by and wait for him to show up and searching wildly for him instead.

They sprint their way up the stairs to the booth when they don’t find him anywhere else, Dylan taking the steps two at a time.

**INT. AAA - TECHNICIAN’S BOOTH - DAY**

Dylan launches himself into the space first.

> **Dylan: **Lucas?_ [ jogging further in ]_ Lucas!

Asher rushes in after him, allowing him to look deeper in the space. But there’s not much to investigate, and it’s more than clear Lucas isn’t present. Asher takes to searching the drawers and storage spaces instead, looking not for Lucas himself but rather his belongings.

He grows more worried the more he digs around. All of Lucas’s usual things are gone – his snacks aren’t in the drawers, his supplies aren’t on the shelves.

> **Dylan: **He’s not here_. [ nervously ] _Ash, he’s not here.
> 
> **Asher: **None of his stuff is here either.

Asher slams the drawer shut, getting to his feet and running a hand through his hair. Dylan looks at him sadly, dread washing over them.

> **Dylan:** Do you… I mean, do you think he already – ?

What? No. No. Lucas wouldn’t go without saying goodbye… but the expression on Asher’s face is just uncertain enough to convey real concern. The possibility hangs in the room, dominating their reality for a heavy moment.

> **Lucas, off-screen:** What are you guys doing in here?

Dylan’s eyes widen, looking towards the door. Asher whips around to find LUCAS JAMES FRIAR, standing there with his backpack and eyeing them as if _they’re_ the odd ones in this situation. Like nothing is out of the ordinary.

But it is. It is, and Dylan sprints past Asher to barrel Lucas with a hug. He’s surprised by the sense of urgency, awkwardly patting Dylan on the back until he lets him go.

> **Asher: **Are you okay? Harper told us about the school board thing in class.
> 
> **Lucas: **Oh. Glad that’s spreading like the plague.
> 
> **Dylan:** What do you want us to do? What’s the game plan?
> 
> **Lucas, plainly: **Nothing. There is no game plan.

For what it’s worth, Lucas is acting _very_ calm about this whole ordeal. He idly finishes collecting the sole remainder of his things, putting them in his backpack. Only that fact doesn’t feel comforting – in fact, it adds a sense of uneasiness.

Dylan and Asher exchange worried looks, then Asher asks what’s going on. They need to brainstorm, they need to discuss. If they put their heads together –

> **Lucas:** There’s nothing to discuss. _[ matter-of-factly ]_ I’m leaving Triple A.

Just like that. No fanfare, no fight. Lucas has already accepted it, assuming it’s the new reality.

Dylan and Asher stare at him, dumbfounded. They stay frozen as Lucas scoots past them without another word. Their fearless head technician, scrappy and proud and always willing to fight when it truly matters, has put up the white flag.

He’s surrendered, no more fight left to give.

**INT. AAA - JACK’S OFFICE - DAY**

Riley storms into Jack’s office. She doesn’t wait for an invitation, all composure and demure persona shot to hell. She fiercely claims there is no way they can remove Lucas from Adams.

> **Riley: **It goes against just about every ethical principle, for one – and what makes this Bradford girl so damn special that she can just swoop in and take someone else’s spot? And why? Just because she can throw money at it?
> 
> **Jack: **I know.
> 
> **Riley: **This place wouldn’t _run_ without Lucas. We all know it. He is the _backbone_ of the techies, and he contributes more tangible things to this school than probably the entire performer class combined.
> 
> **Jack: **Riley, I know that.
> 
> **Riley, hysterical:** He belongs here just as much as any of the rest of us. This is his home! He doesn’t deserve to – he _matters_!

Jack agrees with her – obviously, he does. And he’s doing absolutely everything he can, but that’s not enough to placate Riley. Not when the stakes are so high, and they’ve proven time and time again that adults can’t be trusted to do anything.

> **Riley: **Oh, you’re going to handle it? The same way you handled the _AAAC_? Or the_ Into the Woods _vandal, or the blatant _abuse_ –

Riley’s voice cracks, on the edge of tears. She forces herself to keep it together, gripping the back of the chair across from Jack’s desk and dipping her head down. Jack takes the hits, unable to argue back and honestly not sure he wants to. Riley is right, after all. All of her concerns are his concerns, too – that he’s not going to be able to fix it.

That he’s going to fail again, in a moment when it really matters.

She takes a deep breath, searching for an alternative where there are none. Grasping at straws, offering everything she has.

> **Riley, fragile: **I’ll leave.
> 
> **Jack: **What?
> 
> **Riley: **Take my spot instead. I’ll go upstate and live with my mom, and Missy can take my spot. Then he can stay._ [ tearful ]_ Right? I’ll go, and he – he can stay. Take me instead.

Jack frowns, and that’s enough to signal that it’s not an option. A tear slips down Riley’s cheek, which she wipes at hastily. He explains that unfortunately, the board is going to take advantage of this public spotlight to set a precedent either way – and that narrative has come to include Lucas, willingly or not. It’s not as simple as a spot anymore.

She’s just a student. There’s not much she can do.

Riley shakes her head, fumbling back and escaping from the room before she embarrasses herself by crying in front of him. Jack rises from his seat and considers going after her… but figures it’s better to leave her alone. He doesn’t know what else he could do anyway.

**INT. AAA - ATRIUM - DAY**

Riley pushes out of the main office and into the atrium, grateful that classes are in session and no one else is roaming the halls. Her eyes are still glassy, and it’s not going to take much to tip the scales.

In fact, all it really takes is a glance towards the main staircase. The same place she first locked eyes with Lucas what feels like forever ago – when things felt so different. Before she really knew who he was, before anything made sense.

With Lucas, things make sense. And soon enough, these halls might very well exist without him. She can’t imagine a version of her world where he’s no longer in it.

* * *

**Song Cue ♫ ♪ “My Man” as performed by Glee Cast || Performed by Riley Matthews**

Riley delicately starts the powerful ballad, encompassing the entirety of her emotional journey with Lucas in a few simple lines.

_What’s the difference if I say “I’ll go away?”  
When I know I’ll come back on my knees someday_

She cautiously starts making her way through the halls towards the auditorium, growing more emotional and passionate the deeper in she gets.

_For whatever my man is, I am his  
Forever more._

**INT. AAA - AUDITORIUM - DAY**

Riley takes the soliloquy to the stage, nothing but her and a spotlight to accent the performance. It’s reminiscent of so many of her former power ballads (“Rose’s Turn,” “On My Own,” “She Used to Be Mine”), only this one hits with the rawness of pure certainty. There’s no more wondering what exactly she feels about Lucas James Friar, and there’s no point in trying to reason with it.

And the flashbacks interspersed throughout do a good job of supplementing her case. The rest of the performance up to the last 30 seconds is laced with memories, driving the point home just how deeply the two of them have come to not only know one another, but care about each other. Walking through the Christmas tree farm with the snow; Riley’s first dance lesson during culture swap week; playing basketball; their moment in the teacher’s lounge; handholds in 112 and 208; sitting together in the courtyard to escape everything else; finding refuge in the booth.

When she sings _“when he takes me in his arms, the world is bright, alright”_ at the swell, of course focus shifts to the Jacobs gala kiss.

It’s all of it – it’s everything. They’re not perfect, far from it, but Riley can’t fathom the possibility of letting it all go. She came to Adams specifically because she was looking for a place to belong, and she found it… just not in the school.

The last flashback is Lucas looking up at her after telling her who she is when she sings sounds like the real her, someone truly worth knowing, which then finds back to Riley belting out the last rendition of the chorus. The lyrics _“for whatever my man is, I am his”_ are searing with conviction, Riley totally committed to their truth.

Eyes shimmering with tears, she rounds out the performance with a level of gusto the divas could only dream of. She’s out of breath when she finishes, almost collapsing back into tears.

* * *

Thankfully, something snaps her out of it. Applause.

Riley lifts her head, startled. Stunned that someone was listening – terrified for a moment that it’s the same person who pulled this move almost two years ago.

But it’s not Lucas. Isadora finishes her claps as she makes her way down the aisle from the house entrance, telling Riley it was a nice performance. Definitely emotive, there’s no doubt about that.

Riley lets out a resounding sigh, dropping down to a sitting position on the edge of the stage. She wipes at her eyes, Isadora reaching the front of the auditorium. They share in silence for a moment, Isadora propping her elbows on the stage.

> **Isadora:** It’s true, then? _[ looking at her ] _You really love him.

What a strange thing, to hear it stated so casually. Riley takes a deep breath, keeping her eyes glued to the seats. Then she nods, releasing it.

> **Riley: **Yes. _[ softly ] _Can’t remember when I didn’t.

Isadora nods, absorbing this. Another pause.

> **Isadora:** I wasn’t sure what to think. After the whole Confessions thing. I mean, I always thought you two were… I didn’t know what to make of it at the time, but I knew it was there. I’m not an idiot. _[ a beat ]_ Then all of that happened, and all this doubt got thrown in the mix. I’m not good with doubt.

Riley closes her eyes, trying to stop the tears. She takes another calming breath. Isadora doesn’t interrupt her, continuing to speak and giving her the time she needs.

> **Isadora: **But it still just seemed… I know Lucas thought it was true, because I think he wanted it to be. He gets so defensive, you know, has all these barriers up. These hoops he jumps through just to keep expectations low, to keep people a safe distance away. You broke through that, and then when things got complicated and doubt got involved he just… believed it. Because it was safer that way. If you never make yourself vulnerable, then you can never get hurt. I know that better than anybody. So I trusted his judgment, but… I don’t know. It didn’t seem right.

Isadora shakes her head, thoughtful.

> **Isadora: **Now, I’m pretty convinced. _[ with a dry laugh ] _It sounds ridiculous, and I hate this school for making me this way, but it was in the vocals. You can’t sing about someone like that and not mean it.

True enough, especially on this show. The truth of the sentiment settles over them for a long moment. Riley huffs, shaking her head.

> **Riley:** We can’t let them do this, Dora. We can’t let them… we have to do something.

Isadora locks eyes with her, matching her intensity. A whole new storm of potential brewing between them… perhaps this fight isn’t as hapless as it seems…

**INT. AAA - LIBRARY - DAY**

CHARLIE GARDNER is at a table in the corner, reading through the latest article on the case. He chews his thumbnail as he scrolls through it on his phone, obviously disturbed by it.

> **Farkle: **You catch my cameo?

Charlie lifts his head, FARKLE MINKUS sliding into the seat across from him. He taps the phone, propping his feet up on another chair.

> **Farkle:** I think it’s like eight paragraphs in or so. They mention current Adams junior Farkle Minkus, recently returned to the school after a stint in rehabilitation for attempted suicide. In their eyes, it’s just more proof of how the students at Adams aren’t cut out to handle it.
> 
> **Charlie, disgusted:** That’s sick.
> 
> **Farkle:** Maybe. But if I’m being honest with myself, sounds like exactly the kind of arguments I would’ve made only a year or so ago. Entitlement is one hell of a drug.
> 
> **Charlie: **You weren’t this bad. You weren’t like this.
> 
> **Farkle: **You’re so sweet, Chuck. But flattery will get us nowhere. At least in this situation.

Charlie frowns, putting his phone down. He chews his lip, wondering aloud what the hell they’re supposed to do about this. Everyone tells them they have no power, that it’s out of their hands, but that doesn’t seem right. There has to be something they can do.

Farkle considers, then shrugs. Far as he sees it, the fact that they care at all is the first step. Most people don’t even make it that far. After that… 

> **Farkle:** My brother Ezekiel is really big on studying activism. His stance on it is pretty clear. Lots of people can claim they care, can claim they’re an activist, but few people actually _do_ anything when they have the ability to do so – even things as simple as speaking up. Now, I don’t know how much activism my brother really _does_, so he could just be the pot calling the kettle black. But I think his perspective makes sense. The most important thing anyone can do is to make the active choice to help someone else. Even when it might impact them adversely to do so – especially then.

Food for thought. Not a solution to the issue at hand, but maybe it could be. They just have to find the way in which they can do something.

**INT. AUDITION HALL - DAY**

ZAY BABINEAUX is backstage, gearing up for his callback for the off-Broadway production. It’s of _West Side Story_, although with some fresh twists on it as to be expected for something small-scale and new.

Maya is there with him, hyping him up before he goes out on stage. She gives him a pep talk, although some of her points aren’t exactly helpful.

> **Maya: **And if it doesn’t pan out, don’t think about the fact that we could also potentially all be kicked out of Triple A at the drop of a hat. Put that out of your mind.
> 
> **Zay:** … it wasn’t _in_ my mind until now!

Oh. Well, whoops. Maya gives him one pat and a swift break a leg, zipping from backstage to go back in the audience. Zay grounds himself, taking a deep breath and squaring his shoulders.

He marches onto the stage just as Maya returns to the house, sliding into a seat next to Isadora. Both of them give him encouraging smiles, the casting panel eyeing him interestedly.

Zay introduces himself, and explains that he’ll be auditioning with a routine to the Act II dance display, “Cool.” Once they’ve taken their notes, the creative team signals for him to begin whenever he’s ready.

He takes a deep breath, centering himself.

* * *

**Song Cue ♫ ♪ “Cool” as performed by _West Side Story _Original Cast Recording || Performed by Zay Babineaux & Dylan Orlando (feat. AAA Junior Techies)**

When he opens his eyes again, he’s completely in character, taking on a harsher edge. The lights shift on the stage, reflecting the intensity of the number.

> **Zay: ** _You wanna live in this lousy world?_

Abruptly, the scene flips –

**INT. AAA - AUDITORIUM - DAY**

To the AAA auditorium, where the techies are assembled. They’re brooding, the stage dark and stylistically lit. It feels like darkness around them for miles, reflecting their current state. The crew of them are bristling with energy, angry and frustrated and ready for action.

That is, except for Dylan. He’s upset too, certainly, but he knows that doing something reckless isn’t going to get them anywhere. He’s learned that the hard way – and in the absence of their leader, he has to step up to keep everyone else from making a rash decision.

> **Dylan:** _ Just play it cool._
> 
> **Nate: ** _I wanna get even!_
> 
> **Dylan: ** _Get cool!_
> 
> **Dave: ** _I wanna bust!_
> 
> **Dylan:** _ Bust cool!_
> 
> **Asher: ** _I wanna go –_

Dylan holds a hand out, taking his boyfriend by the shoulder. Holding him back from going scrappy, as he so often does. They lock eyes, Dylan’s gaze urging him to stay calm.

> **Dylan:** _Go cool!_

The number stays split between the techies and Zay’s audition, transitioning effortlessly back and forth. While Zay’s dancing is of course a highlight, the most impressive aspect is the techie crew’s range. They’re truly channeling the same energy of the original number, a gang of some sorts fuming after the loss of their de facto leader and scrambling to reorganize.

In the section after the first minute, Dylan is going around keeping everyone from losing their cool. He tells Nate to cool it first when he kicks at one of the set pieces on display, then has to talk Dave down when he starts to grow too angry (_“Cool it, Davie, cool it, cool it…”_). Dave laughs it off, as if it’s nothing… and then he kicks over the stack of acting blocks, descending into delirious, heartbroken laughter (_“Pow!”_). Jade rushes over to pull him back from doing any more damage, basically having to restrain him.

As the song escalates into the dance break it’s famous for, the number becomes more evenly split between the two sets. It’s easy to forget how competent and talented the techies are as a group – but they are. This performance is “Thnks Fr Th Mmrs” but turned up to eleven, with far more stylization and actual raw anger as the motivator. Their choreography isn’t nearly as difficult or seamless as Zay’s, but that’s all part of the fun contrast – they’re messier, more erratic, but just as sharp and energetic.

Dylan, as the unexpected second-in-command, is particularly compelling. Considering how happy-go-lucky he usually is and the energy the techies usually have, the whole rendition… _feels_ chilling. A manifestation of grief, above all else.

**INT. AUDITION HALL - DAY**

Zay gets the last chorus, about 4 minutes in. He finishes up his audition, giving a curt little bow.

**INT. AAA - AUDITORIUM - DAY**

The rest of the techies have dispersed, Dylan left on stage seemingly alone. He saunters his way back into the shadows… although his own cool facade is coming apart. He bites back his own frustration and anger over the situation, letting it out in the smallest of symbolic ways with the final _“pow”_ of the number.

He holds up a fist as he does so, as if he might do something – but Asher is there. He catches his hand and meets his gaze, pulling him back down to Earth. A heavy moment passes between them… and then Dylan drops his hand.

Asher keeps a hold on it as he drifts back into the darkness, slowly pulling Dylan along with him until the stage is empty.

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Lucas is back in the chair across from Jack, although the mood is a way it’s never been before. It’s not easygoing and comfortable, but it’s not tense and antagonistic either. Something about it is deflated, all of their usual fire as they volley back and forth burnt down to cinders.

That’s not for lack of trying, however. Jack is fully invested as he describes what the trial process is going to be like, explaining that he’ll be with Lucas the whole time and will be doing most of the talking. All Lucas has to do is show up and present himself appropriately, and he’ll do his best to handle the rest.

It’s Lucas who is bringing down the energy. Not that he’s doing anything, exactly, but that’s the problem. He’s complacent, nodding along to what Jack has to say but not really engaging with it. Already convinced it’s a lost cause, and appearing surprisingly okay with it. Not thrilled, but resigned. Braced for the inevitable.

It’s so not Lucas, and this frustrates Jack. He tries to get him to talk with him about it, for them to brainstorm and see what else they can come up with, but Lucas isn’t budging. He plaintively states that Jack has wasted enough time stressing over him in the last three years.

> **Jack:** … I’m not giving up. We’re going to fight this, Lucas. It’s not over yet.
> 
> **Lucas:** It’s not worth the energy.
> 
> **Jack: **Of course it is. Any student’s well-being is worth the effort –
> 
> **Lucas, pointedly:** But I’m not worth your career.

It’s the way he says it that really hits. Firmly, but softly, with this… ghost of a smile. Like he recognizes Jack’s persistence, appreciates it for what it is… but already knows it’s futile. And certainly not worth tanking his own well-being to combat.

Jack stares at him, lost for words. Wanting there to be an easy solution, a checkmate move he can make to prove this whole thing isn’t pointless.

> **Asher, pre-lap:** He’s completely given up.

**INT. AAA - AUDITORIUM - DAY**

The techies are occupying the stage, in the midst of another brainstorm session. The whiteboard is out, but it’s completely blank. The mood in here has deflated as well, all of that anger in their imaginary grieving process having simmered down to inertia.

Their figurehead is gone, and so it seems is their spirit.

> **Dylan:** It was just wrong. For him to look at us and just tell us… for him to just surrender. It’s like it wasn’t even Lucas.
> 
> **Jade:** He’s really not even trying? He’s just going to let it happen.
> 
> _[ Asher nods. The entire mood deflates even further. Nate shakes his head in disgust. ]_
> 
> **Nate: **And there’s nothing we can fucking do about it.
> 
> **Riley, off-screen:** Maybe not.

All of them perk up, looking towards the dressing room hall. Riley enters with Isadora, the two of them marching over to join the techie circle. Lucas may think the situation is fruitless, but then, he’s _never_ been the optimist. If they follow his example, then they will fail. That’s guaranteed.

> **Isadora:** Lucas has never been about fighting for himself. He’d do it for any one of us, but never for himself.
> 
> **Riley: **But that doesn’t mean we have to give up too. And we may not have any direct power in our hands, but there is one thing that not even the Bradfords can buy off of us.
> 
> **Dave: **Our vital organs?
> 
> **Isadora:** Close, Dave. Very close.
> 
> **Riley:** Our voice.

Nate scoffs, but they’re not finished. The way they see it, the only thing they can do in this situation is speak up, and _loudly_, that none of them are okay with it. This isn’t just about Lucas, after all – if he goes down, then every one of them are at risk of being the next domino to fall. They’re aware the school has never been about camaraderie, but now more than ever is the time to band together as a united front.

So they’re going to protest it, boldly and publicly. Riley has already started brainstorming logistics, and Isadora has some thoughts on how they can get the media involved so it actually has some heft. But they’re going to need help, a lot of help… including Lucas’s most loyal crew.

Dylan is already on board, ready for a scrap and a riot or two. The rest seem eager as well, but Nate does make one solid point.

> **Nate: **Okay, so say we do this. Great. That’s what… ten people standing outside Adams shouting about how unfair everything is? That’ll be real compelling. Especially since we’re his friends.
> 
> **Asher:** Unfortunately, Nate is right.
> 
> **Nate: **Thanks.
> 
> **Asher: **This is a good plan, but it needs numbers. And we definitely don’t have pull with the rest of the student body.
> 
> **Jeff: **We could maybe get some of the underclassmen techies in on it, but…
> 
> **Riley: **That’s great. You all focus on that, and Isadora will delegate the rest of the preparation tasks. _[ a beat ]_ Leave the rest to me.

Vague, but promising. The room is suddenly buzzing with energy again – the invigorating sense that all hope is not lost. The techies exchange determined glances, then look to Riley. All in, whatever happens next.

**INT. AAA - HALLWAY - DAY**

Charlie opens his locker, checking his phone and surprised to find a missed call and voicemail waiting. He lifts it to his ear to listen, shock taking over his features. It’s Principal Jackson of Haverford Prep, calling to explain that they’ve reviewed his application and are happy to offer him admission to their elite senior class.

In all of the insanity, Charlie had completely forgotten about the audition. He honestly didn’t think he would even get in. Now that the possibility has been laid down in front of him, he doesn’t know how to process it.

HALEY FISHER and CLARISSA CRUZ come to join him, immediately asking if everything is okay based on his expression. He covers, clearing his throat and claiming he’s just… thinking about his final performance. Trying to figure out what it should be.

They don’t question him, launching into brainstorming ideas. Charlie lets the moment pass, shutting his locker and following them down the hall.

**INT. AAA - ERIC’S OFFICE - DAY**

Riley and Isadora confront Eric, pitching him their strategy for a student opposition to the school board trial. They’re methodical, meticulous, and clearly prepared. He can’t possibly say they haven’t thought things through, and any action is better than inaction.

So he’s on board. He agrees to be their faculty sponsor, allowing them to congregate on school grounds and do whatever processes they so please within a reasonable limit. But he emphasizes that this will really have to be on them – he’ll be busy playing emotional support the day of the trial so he won’t be able to help them much.

> **Isadora:** Don’t worry about it. We can handle it.

She says it confidently, exchanging a resolute look with Riley. They know exactly what they’re getting into, and they’re doing it no matter what.

**INT. AAA - BLACK BOX THEATER - DAY**

Which is the energy Riley takes to the A class, rallying with them during class. Harper gives her full control of the front of the room and doesn’t fight for attention, more than happy to let this fight take precedence.

And damn, does Riley make a compelling case. She highlights all the reasons they should be willing to help drum up support, starting with a compassion-based approach before swerving into more tactful psychology. She reiterates what Maya basically said when they heard the news – if this goes through, it will set a precedent that endangers all of them.

> **Sarah: **And why should I care what happens to Lucas? All he’s done is cause trouble.
> 
> **Asher:** Maybe because you wouldn’t have had a successful production for the last three years if he weren’t here, Carlson. Not that anyone would’ve missed your forgettable background vocals.

_Ooooh_. Asher is not here to play around this week, and the class derives the limited amusement they can from it. Sarah doesn’t argue further, but Riley elects to actually acknowledge her point.

> **Riley: **Lucas is the current target, yes, but the point is that it could’ve been – and could be – any one of us. If you can’t bring yourself to care about him, think about how it would feel if it were you next. Or your best friend. The person you cannot imagine Triple A without.

Heaviness settles over the room. Maya and Farkle exchange a look – they know that fear all too well. Haley looks to Clarissa, the latter giving her a soft smile and taking her hand. Dylan squeezes Asher’s knee.

> **Riley: **Best friend or not, we are all students at this school. For whatever reason, we were admitted, and we’ve earned our place here. And we _cannot_ be bought. That’s something all of us should be able to get behind, details irrelevant.

There’s a long pause. Then YINDRA AMINO nods from her seat on top of one of the desks.

> **Yindra:** Friar has never been my favorite person, but Riley is right. In this case, if it’s one of us, then it’s all of us._ [ a beat ] _I’m in.
> 
> **Nigel: **Ditto.

Slowly, the junior A class comes together. Maybe to save their own hides… or maybe because amidst the chaos, they’re some weird version of a family.

> **Riley, raising her hand symbolically:** All in?

Dylan and Asher don’t hesitate. Zay’s hand goes up. Isadora’s. Maya, with a sharp smirk in Riley’s direction. Even Farkle. The only one who doesn’t seem one hundred percent sold is Charlie, his trained aversion to avoid trouble strong as ever. But his hand goes up all the same.

Riley looks at all of them, shining with pride and a little emotional. This, she can work with. This battle is far from over – it’s only just beginning.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Yesterday - Anthology 2 Version” as performed by Paul McCartney || Performed by Lucas James Friar**

Meanwhile, Lucas is gearing up to give his last performance at AAA (ironically, also one of his first). He’s casually seated on the edge of the stage with his guitar, actually taking the final assignment seriously. Might as well, if it’s the last one he ever has.

The Anthology 2 version specifically captures the unpolished, offhand quality of the performance, Lucas going through the motions of figuring out what key he’s going to be playing in and explaining it to Shawn and Eric. Then Harper cues him whenever he’s ready, and he launches into the song.

It’s unrehearsed, and full of mistakes – including the bit where Lucas mixes up the wrong lyrics and kind of laughs at himself – but there’s something really charming about it too. For the first time, Lucas seems weirdly at _peace_ as he performs, knowing that none of it matters anymore. He can just sing, and it doesn’t mean anything more than that.

The faculty are not so at ease with the circumstances. Harper and Eric are both respectfully listening, doing well at keeping their own emotion in check. Shawn is not so skilled, doing his best to stem whatever tears might possibly be coming by clearing his throat and half-hiding behind his hand.

Jack is a couple rows behind them, watching the performance with a stony expression. Hating that it’s come to this, that he can’t even enjoy the rendition from the student he never thought he’d see willingly perform. Hating that he’s decided this is the final run without consulting him.

Lucas wraps up the performance, silence settling over the auditorium for a long moment. Harper manages a smile, nodding.

> **Harper: **Thank you, Lucas.

Lucas returns the nod.

* * *

**INT. MINKUS HOME - HOME OFFICE - NIGHT**

Farkle pokes his head into STUART MINKUS’s office, asking if he has a moment. Although the past would suggest otherwise, Stuart assures him he always has time to spare for him.

After bringing up the subject of the Bradford case, which Stuart has naturally read up on, Farkle questions if they would be able to donate to Riley’s and the A class protest efforts. Not a chunk of change, just enough to pay for the supplies and such that they’ll need to make their materials. He doesn’t want Riley to have to pay out of pocket, and Stuart is always saying they should contribute to worthy causes.

Hard to argue with that. Stuart agrees, happily stating that Farkle can charge it to the family card. Still, he has to wonder…

> **Stuart:** Isn’t this Friar boy the one who used to chase you around the auditorium and terrorize you every day?
> 
> **Farkle: **Yes, well, therapy has illuminated my own faux pas in that situation. And the past is the past, so.

So it is. Farkle thanks his father again, starting to head out when he hesitates. He turns to ask one more question, asking Stuart if he would’ve done the same thing. Like, if Farkle were Missy, wanting so badly to get in this elite school and they could pay through the nose to make it happen, would he go so far as to push another student out to do it?

Stuart seriously contemplates the question, intending to give Farkle a worthy answer. He admits that while it would be tempting, as one of the greatest joys as a parent is giving your children everything they could possibly want… he likes to think no, he wouldn’t. He’d try his best, but he wouldn’t want to give Farkle an advantage at the expense of someone else.

Fair enough. Farkle seems satisfied with that, nodding and offering a smile and good night as he heads back into the hall.

**INT. LUCAS’S APARTMENT - NIGHT**

Lucas joins GRACE FRIAR on the couch, the two of them enjoying a humble snack before bed. Lucas apologizes for all of the chaos this whole story has caused, especially if any of it has blown back on her. She brushes it off, but admits that it’s for the best that his father is out of town right now. Hopefully it will all blow over by the time he returns.

Ah, yes, his father… slowly, some of Lucas’s resigned demeanor begins to crack. Although he tries to come off aloof, he asks what’s going to happen if he _does_ end up removed from AAA. Is he going to have to drop out? Or worse, is he going to go back to Quincy?

Grace looks at him, mustering a weak smile and patting his knee.

> **Grace: **We’ll figure out a plan. It’ll be fine.

But it’s clear from how timid her voice is and the expression on her face that she has no plan. They have no alternatives, and saying it’ll be fine doesn’t erase the fear from her features.

Lucas mirrors the half-hearted smile, nodding in agreement. It only crumbles when he looks away, staring at the floor and clenching his jaw to keep his expression neutral.

For all his perceived quietude, he might be pretty scared too.

> **Charlie, pre-lap: **I just wish there was more I could do.

**INT. GARDNER HOME - KITCHEN - NIGHT**

Charlie is seated at the kitchen table, ELEANOR GARDNER listening as he tells her all about what’s going on with their school right now. Riley’s plan is about the only active opposition they’ve got, but he’s still not sure if he should go through with it or not. He wants to, because he really wants to help take a stand… but he’s nervous, too. If things go south, it definitely won’t look good on his records.

Although Eleanor is sympathetic to Lucas’s plight, she claims Charlie is right to be cautious. It’s his future on the line as well, and he shouldn’t be giving that up just because his classmate already fumbled theirs. In fact, since Lucas sort of got himself into this situation, she thinks it might be wise for Charlie to mind his own business and let it be.

He was on the same page with her there for most of it… but putting the blame on Lucas bumps him. He questions what she’s talking about, and she points out that if you do the crime, then you do the time. Lucas has far from a clean record, and if this is the cosmic punishment the Lord has laid down for him then far be it for them to try and fight it.

> **Charlie: **Isn’t it our job to help people who have fallen though? I thought the whole point of faith was to uplift, and extend forgiveness –
> 
> **Eleanor: **It is. Honey, it is, I’m not saying otherwise. But mistakes have consequences, and punishment must be served.
> 
> **Charlie:** So you’re saying I should do nothing. Even though I clearly have something that I could do, even as small as showing up.
> 
> **Eleanor: **I think you should do whatever you feel in your heart is right. Just remember… there are some people in this world who cannot be saved. You’ll have to decide whether this classmate of yours is worth it or not.

Suddenly we’re putting _worth_ on a teenager again. Charlie frowns, not sure what to make of the conversation.

Then Eleanor takes it a step further, shifting her attention to him. She makes a face and affectionately adjusts his hair, clicking her tongue.

> **Eleanor: **This is getting quite long, isn’t it? We should make you an appointment to get it cut. _[ innocently ]_ Don’t want to give people the wrong impression, hm?

Wrong impression of _what_? The comment is meant to be protective and loving, but it rubs Charlie the wrong way. He continues to frown as his mother walks away and heads for bed, slowly shifting into a scowl.

He pushes from his seat, heading towards the stairs.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie is already dialing his phone before he even shuts the door, pacing impatiently while he waits for a response. When they pick up, his gaze is intent.

> **Charlie: **Riley? What’s the plan?_ [ resolute ]_ Tell me what I can do to help.

As the rocking guitar rolls in…

**INT. AAA - BLACK BOX THEATER - DAY**

* * *

**Song Cue ♫ ♪ “I Predict A Riot” as performed by Kaiser Chiefs || Performed by AAA Juniors**

School is no longer for education but for strategizing, the classroom having been transformed into a headquarters for Riley’s protest mission. They’re working under a tight timeline with the school set to be their battleground in just a couple days, so everyone is hard at work.

Throughout the montage, A class students jog up and edit items on the massive whiteboard. Cross off action items, add new ones, adjust the countdown they have in the top right. The vocals float over the scenery, not a performance but more so a battle cry.

Asher and Dylan are in charge of poster design, leading groups of students in creating them with expert efficiency. They hold up a few here and there for Riley to approve, some humorous while others hit the nail right on the head.

Jade is leading a crop of workers in making custom tee shirts for the event, Clarissa keeping track of all the new “orders” they get for a shirt on a spreadsheet. NICK YOGI floats around with his A/V club camera, capturing the whole process for historical posterity.

Isadora makes her grand move, getting media pull by using the De La Cruz card. She negotiates on the phone with them one-by-one, claiming she’ll give them exclusive details on how the mother-daughter dynamic is developing… if they pay her one back and cover this story as well.

After another successful call, she jots it down in her notebook before shifting her focus. She pulls up her text chain with Valerie, letting her know what’s going on and keeping her updated on all the details. It’s clear that she let her know about it yesterday and Valerie responded telling her to keep her posted, but she’s yet to respond since then.

Riley is drawing up agendas and maps for the day, from where they’ll start to where they’ll end. Farkle and Charlie are brainstorming with her, offering suggestions or walking through the plot step-by-step. Maya and Zay are keeping a working copy of the “performance” schedule, including speeches, chants, and renditions planned throughout the afternoon.

**INT. AAA - HALLWAY - DAY**

Sarah and DARBY WINTERS run through the halls, putting their notorious gossip skills to good use and spreading the word. More and more students from all grades make their way towards the black box, looking to contribute in whatever way they can.

* * *

**INT. AAA - BLACK BOX THEATER - DAY**

Riley is in the midst of a discussion about where the march should start when her phone rings, distracting her. She claims she has to take it and tells her crew she’ll be right back, darting into the hall.

> **Farkle:** I’m just saying, I don’t see how having everyone blockade the streets around Triple A with their vehicles is such an unfeasible idea. I could contribute the Minkus helicopter if we’re really short on bulk.
> 
> **Zay:** Please tell me you realize how ridiculous you sound. If not, I’m not sure I have the heart to burst your bubble.

**INT. AAA - HALLWAY - DAY**

Riley picks up the phone, TOPANGA LAWRENCE on the other end of the line. Riley warns her that this isn’t really a good time, as there’s a lot going on at the moment.

Topanga asks when isn’t there, but she cheerfully assures her she’ll be quick. She just wanted to check in about whether Riley had given any more thought to the upstate move. If they do want to consider the art schools up there, after all, they really need to get a move on…

Riley holds her breath, confronted with the decision unexpectedly. But glancing over her shoulder towards the black box, where her entire class is so hard at work with her leading the charge… suddenly the answer becomes crystal clear.

> **Riley: **I can’t.
> 
> **Topanga: **What’s that, dear? You have to speak up, you know I’m always telling you that.
> 
> **Riley, firmly: **I want to stay in Manhattan, mom. I want to stay at Triple A.

Silence. Riley fidgets under the cold reception, but she doesn’t back down. She opens her mouth to speak again but Topanga beats her to it.

> **Topanga:** Are you _sure_?
> 
> **Riley:** Yes. I really appreciate it, the offer, and everything you think you’re doing for me. Really, I do. But this is where I need to be right now. It’s where I want to be. I can’t leave everything I have here. _[ a beat ] _Especially not now.

More silence. It feels like it might go on forever… when Topanga states it’s fine. She doesn’t sound pleased, but she will respect Riley’s choice as she said she would. She just hopes this doesn’t mean they’ll never see one another again.

> **Riley: **Of course not –
> 
> **Topanga, passive-aggressively: **I just hope you’re making the right choice.

Once upon a time, that tactic may have worked on Riley. But she’s learned a lot since then. She’s learned to stand up for herself, to raise her own voice – when she does, that’s when she’s really worth knowing.

> **Riley:** I am. Trust me.

Well, nothing left to say, then. Topanga says she’ll call later, but Riley knows that might be a while so she can lick her wounds. They say goodbye and Riley leans against the wall, letting out a breath she didn’t know she was holding.

She looks back towards the classroom, alive with action and purpose. A movement she created.

Then she jumps back into the fray, ready to really make a difference.

**EXT. AAA - DAY**

A fancy town car pulls up outside Adams. A glossy pair of shoes step out from the backseat, and MISSY BRADFORD emerges as the driver helps her out of the car. She exchanges a proud smile with her father CARSON BRADFORD, the two of them making their way up the steps towards the entrance. Already, board members in suits are milling about the building.

Trial day has arrived, and with it the future of AAA.

**INT. AAA - LECTURE HALL - DAY**

Jack is finishing setting up the lecture hall for the proceedings, directing faculty to finish the arrangements. It’s decorated quite similarly to a courtroom, a long string of tables at one end of the room set up for the board members. Opposite that, a table is set up for the Bradfords and their legal team, and a few feet away are seats for Jack and Lucas at their own table.

Up in front of the projector screen in the corner, a podium stands, typically reserved for the lecturers who use the space. Today, it’s a witness stand.

Evelyn Rand greets Jack as she enters, one of the first board members to arrive. She commends him on being willing to use their space, and for organizing such an efficient set up. That being said, she does hope the proceedings won’t create too much of a disturbance for the students.

Oh, don’t you worry about the students, Miss Rand…

**EXT. NEW YORK STREETS - DAY**

The students are creating a disturbance all their own.

* * *

**Song Cue ♫ ♪ “Come Together” as performed by The Beatles || Performed by AAA Juniors (feat. AAA Students)**

Riley kicks off the eerie call-to-arms, walking towards us down the street from the march starting point. Soon enough Dylan and Asher fall into line behind her on either side, harmonizing with her. On the first _“come together,”_ Isadora and Zay arrive, and they sing the chorus right to the camera.

So the march continues, picking up more and more students along the way until there’s a full-fledged rally making their way towards the school. Thanks to Isadora’s media influence, reporters and other passersby join in on the crowd as well. By the time they arrive at Adams, a crowd of at least 200 people has gathered to protest.

**INT. AAA - LECTURE HALL - DAY**

Missy is just in the midst of explaining to the school board that her lawyer should be here any minute – just as ANNE MARIE WINTHROP walks through the door. She apologizes for the delay, as there were lots of unexpected traffic jams on the way over.

> **Jack: **Oh, hell no –

Before Jack can make a move either way on this brand new reveal – a dirty move on the Bradfords part, hiring his ex-girlfriend – Eric swoops in and grabs his arm. His eyes are wide.

> **Eric:** You’ve got to see this.

**INT. AAA - ATRIUM - DAY**

Jack and Eric make their way to the doors, stunned by the scene that has formed on the steps of the school. The other school board members are getting a good look too, the stunt definitely having gotten their attention.

**EXT. AAA - DAY**

Outside, as the Beatles tune shifts into the guitar solo, Riley takes to the section of the steps they’ve designated the “stage” and takes the megaphone from Maya. She begins her opening speech to her fellow students about why they’re there today – because they’re the true heart of AAA, and they refuse to be bought.

> **Riley:** Who are we?
> 
> **AAA Students: **The people!
> 
> **Riley: **Do we matter?
> 
> **AAA Students: **Yes!
> 
> **Dave: **Hell yeah!
> 
> **Riley:** And what matters more – the people, or a profit?
> 
> **AAA Students: **The people!
> 
> **Riley:** No matter who you are?
> 
> **AAA Students: **Yeah!
> 
> **Riley: **No matter what?
> 
> **AAA Students: **No matter what!

Damn right! More media is arriving to cover the surprise protest, surprising the likes of Jefferson Graham as he arrives for the trial. He seems disdainful as he pushes his way through students and avoids reporters, heading for the stairs.

* * *

Lucas also arrives in the midst of the spectacle, dressed as best as he can manage in dark jeans and a slightly wrinkled button down. He even managed to comb his hair after an entire year of dissing the notion. He’s stunned by the crowd and the rally and the sheer presence of such a fuss, absolutely baffled.

> **Lucas, under his breath: **What the _fuck_ –

As if on cue, reporters zero on him. There he is! The infamous Lucas James Friar! They start to swarm him, asking a million questions that he has no idea how to handle or answer.

Luckily, Eric comes to his rescue. He appears in the crowd, reaching out and taking his arm.

> **Eric: **Hey, I got you. Come on, come on!

Lucas follows Eric, letting him push their way through the assembly and towards the school. When they get to the entrance and he can finally see the view from above it all, Lucas scans the chaotic scene and finds Riley standing at the core of it all.

They lock eyes, only for a moment, across the steps. Then Riley takes a deep breath, turning back to the people and leading their war cry.

> **Riley:** People over profit! We won’t be bought!
> 
> **AAA Students: **People over profit! People over profit!

The crowd is downright uproarious. Eric guides the dumbstruck Lucas through the doors and into the school, leaving the movement to Riley.

**INT. AAA - ATRIUM - DAY**

The sound of the protest lowers to a quiet din as they step into the school, but it’s impossible to ignore. Lucas and Eric meet with Jack, discussing what the hell is going on outside. Sure, it’s a lot, but it definitely can’t _hurt_ their case.

> **Jack:** Trust me, I don’t think the Bradfords are planning to play nice.

Eric claims it doesn’t matter – they have their case, and they know they’re on the right side of AAA history. Now, it’s just time to convince everyone else.

Jack gives Lucas a bracing pat on the shoulder, asking if he’s ready. He nods, and the three of them make their way to the lecture hall.

**INT. AAA - LECTURE HALL - DAY**

From inside the hall, all of the uproar from just outside the school is silent. Attention is rapt as Evelyn thanks everyone for taking the time to be in attendance, explaining the process for how the proceedings will operate. They will be going mainly off of character witnesses and discussing the logistics of the enrollment process at Adams, all to determine whether junior student Lucas James Friar can keep his coveted spot – or if someone, such as Missy Bradford, has the right to demand it for herself.

There are about nine school board members present, including Rand and Graham. It’s near impossible for there to be a tie or hung jury in this situation, so this should wrap by the end of the day. One key board member who gets focus is HARRISON YANCY, another older gentleman who is eyeing Lucas with cautious distaste.

Still, they only need to convince five. If five people can see the grander implications of this situation, then Lucas won’t be going anywhere.

Evelyn requests that each of the cases make their main argument as opening statements. Anne Marie rises first, laying down the perspective of the Bradford prosecution. As she starts to speak, highlighting the favoritism and unprofessionalism that permeates Jack Hunter’s enrollment procedures and running of AAA, Lucas frowns and leans over to whisper to Jack.

> **Lucas:** Isn’t that your –

Yes, Lucas. Yes, it is. Jack merely shakes his head at him. _Not now. _Anne Marie maintains her professionalism, delivering the opposition with cool authority and seemingly no personal bias attached. Lucas does not deserve his spot at Adams, and there are plenty of well-intentioned and talented individuals – such as Miss Bradford – who deserve their chance at his spot. Especially since they can afford to pay for it.

Jack rises to give their case, explaining that this is an issue that should have never escalated to this sort of ordeal. They have their enrollment procedures, which have never been an issue for the over 50 years that AAA has existed. Lucas is not a mastermind but a strawman, a scapegoat the Bradfords are using to get their way by digging into the personal life of an 18-year-old student who has put his time and effort into the community here – just not in such obviously visible ways as some of his peers. Missy glances at Lucas from her spot at the table, eyeing him with mild interest.

Then Jack emphasizes the precedent this decision will set, the much larger implications and overarching impact removing Lucas to suit the needs of a demanding pocketbook might have.

Certainly much to think about on both sides. It’s time to hear from the masses.

The sequence passes in a montage, different characters taking the podium as Anne Marie and Jack call them to speak on Lucas’s time at Adams. One is HARLEY KEINER, called in by the Bradfords to discuss the time Lucas spent _living_ in the technician’s booth – a misuse of school property. Harley admits that’s true, and he took the steps necessary to stop it, as did Jack.

But then when Jack gets the chance to question him, Harley points out that Lucas never purposefully misused or damaged any equipment. He was always quite respectful of the more serious items in their shared spaces, and while yes, a desk or house seat here and there might have suffered vandalism, Lucas isn’t the only student who has messed with school property.

When CORY MATTHEWS is called to speak on Lucas’s academics, he admits to the Bradford’s points that Lucas does have an iffy attendance record. However, his grades are still sharp, some of the best in the junior class. Better than half of the performing students, as it were. This seems to be a good point for the defense… until Anne Marie points out that if his grades are so good, then he’d presumably be fine at any school – least of all a school for the arts when he doesn’t _care_ about the arts.

Additionally, Anne Marie manages to twist Cory’s words. She gets him confused or contradicting himself, effectively making his somewhat helpful testimony rather useless by the end. Jack shakes his head, frustrated.

However, it’s not a complete loss. They manage to come back when Yindra takes the stand, acting as the character witness for the Junior A Class. While Anne Marie expects it to be a pretty easy win – they definitely have the impression that the performers are not fond of Lucas – Yindra throws a curveball by actually carrying the opinion that Lucas should stay.

> **Yindra:** Don’t get me wrong, Friar is obnoxious. And yeah, most of us spent the first two years of our time here wondering what he was even doing here. But he’s great at what he does, and he’s a major part of the reason anything gets done around here. When he shows up, he shows up, and our productions are good enough evidence of that. I don’t know if he got his place here in the same way the rest of us did, but he’s certainly earned it since that time.

That’s a _good_ point. The board takes careful note, and as they’re transitioning for their next witness Jack tells Lucas that things are looking good. There have been some unexpected turns, but they’re not out of the running by a long shot.

That is, until Anne Marie calls her next testimony. WYATT LIVINGSTON enters from the hall, back after a year to finally get his revenge on Lucas James Friar. We don’t even have to see the testimony to know it’s not going to be good.

Lucas gives Jack a wide-eyed look as Wyatt takes to the podium. What are they going to do about _that_? Anne Marie asks if Wyatt will be honest in his account, and give an accurate portrayal of Lucas during their time at AAA together. When he agrees, she tees him up, wondering if he has anecdotes he could share with the school board about Mister Friar.

Wyatt looks right at Lucas, a smug smile ghosting over his lips.

> **Wyatt: **Plenty.

**INT. AAA - HALLWAY - DAY**

Following a couple more witnesses, the trial breaks for lunch. Lucas is pacing outside the lecture hall, almost bumping into Missy as she emerges to depart for a quick lunch.

The two of them size each other up for the first time, Lucas obviously not taking kindly to the entitled bitch gunning to take his spot. Missy, on the other hand, doesn’t seem at all disappointed to meet him. In fact, from the way she’s looking him over as she thinly apologizes for all the fuss this has caused, saying she has interest in him might just be the tip of the iceberg.

> **Missy:** I’ll admit, I don’t think photos do you justice. And I didn’t expect things to get so very complicated. All the things everyone is saying about you, all the conflicting accounts… fascinating. Isn’t it? Things might have gone differently, had I known our chosen subject was so… _provocative_.

Lucas is not impressed. He remains stone-faced as Missy’s father beckons her, off for their relaxing, carefree meal.

Jack and Eric emerge from the lecture hall, joining Lucas in the midst of their conversation. They agree that in opposition to the surprise of Wyatt, they’re going to need an equally compelling testimony to throw them off. Eric claims he’s already on it, brewing with an idea.

Wyatt exits from the lecture hall, sauntering his way through the halls of the school that so easily dropped him like a king. He nods to Lucas with a smirk, cocky with long-awaited victory.

> **Wyatt: **See you out there when they dump you on your ass too, Friar.

Lucas scowls, nearly lunging on instinct. But Jack pulls him back, restraining him and firmly stating that’s exactly what Wyatt wants him to do. The last thing they need is to give the opposition any more fodder to play with in their court.

**EXT. AAA - DAY**

Meanwhile, the student protests are well on their way. People have guitars, are waving their home-made signs proudly, listening to the speeches and performances while lounging around on the steps and on the lawn of the school. It’s somewhere between a social march and like… Woodstock. It’s a snapshot of the 60s youth movements, only 60 years later.

Nearby, Isadora is fielding questions from reporters. She’s doing an excellent job considering her usual aversion to the spotlight – Valerie would be proud!

A couple of seniors are at the megaphone at the moment, giving Riley a chance to regroup. But she’s far from relaxed, unable to take her eyes off the school as she sips water. Dylan and Asher wander over to join her, commending her for staying hydrated and wondering how she thinks everything is going.

Outside? Fine. Inside… she has no idea, and that’s clearly what they all actually care about. It’s a minimal relief when Yindra steps out from the atrium, jogging down the steps to come and join them after her testimony. Riley asks how it’s going in there, and she informs them that they brought Wyatt back as a character witness.

> **Riley, Asher, and Dylan: **_Wyatt_?
> 
> **Riley: **How is that an unbiased opinion?
> 
> **Asher: **Oh, so he really wants to get punched _again_?
> 
> **Dylan, softly:** _[ taking Asher’s shoulders and rubbing them soothingly ] _Easy there, bird bones.
> 
> **Yindra: **Believe me, it’s ridiculous and we all know it. But the school board doesn’t, although hopefully some of them are aware of Wyatt’s own history at Triple A.

Otherwise, it’s hard to say how the tides are shifting. But the stuff they’re doing out here is good regardless. She heard some of the board discussing it while she was on her way out. They’re making a point, if nothing else.

Across the lawn, some of the performers are discussing the importance of the protest despite their apparent nonchalance as they recline in the shade. Maya is laying with her head in Farkle’s lap, boldly declaring that although Lucas is the worst ninety percent of the time, she might actually miss him if they decide to oust him unfairly.

Before Farkle can respond, Eric comes over to join them. He asks if he can borrow Farkle for a moment, Maya offhandedly complaining that he’ll be taking her pillow, but letting him go. He gets to his feet, walking slowly back towards the steps as Eric engages him in conversation.

He gets right to the point, pitching that Farkle consider being their last character witness for the trial. It’s a big favor to ask, and Farkle seems confused by the request. Partially because it’s a lot of responsibility to take on, but also…

> **Farkle:** How could that possibly be a good idea? Lucas and I have hated each other since we met.
> 
> **Eric:** I know. They know that too, so you getting up there at the podium and stating that he deserves to stay?

Could be a checkmate. A risky gambit, that’s for sure, but maybe exactly the counterpoint they need. If Farkle, who was tormented by Lucas in their bewildering hate war of three years, can testify that he still deserves his place here…

**INT. AAA - ATRIUM - DAY**

Still, it’s a lot to ask. Eric is aware of that, especially if Farkle doesn’t really believe it. He would try to sell him on the other aspects to the case he obviously agrees with, like the precedent thing, but more so Eric understands that it might be too much to ask. He’s not going to try and bribe him into it.

> **Eric:** I don’t want you to feel pressured to do so. I know how complicated your dynamic is, and you certainly don’t owe him anything. I wouldn’t want you to get up there and say something you don’t mean.
> 
> **Farkle:** Do you think it’ll make a difference? Like, for real?  

> 
> **Eric, honest:** I don’t know. But it’s basically the only idea I’ve got left._ [ patting his shoulder ] _Do whatever you’re comfortable with. I just knew that if I didn’t ask, I’d regret it. I appreciate you considering it, either way.

Eric backs off, leaving him to ruminate on it. Farkle stands frozen in the hall, slowly succumbing to contemplation as the world around him begins to dim and fade away.

In some ways, it feels like his entire rebirth act has been leading to something like this. Does he want to play it safe, staying comfortably in the background of the cause – or does he put himself right in the line of fire? Does he pay forward an act of kindness to someone who has given him nothing but grief – or does he take the opportunity to get final cosmic payback? Or, in an effort to truly look out for himself as he’s always known, does he do absolutely nothing?

The time has come to decide if he’s truly going to repent, or if he’s going to run yet again.

* * *

**Song Cue ♫ ♪ “Monster” as performed by _Frozen_ Original Broadway Cast || Performed by Farkle Minkus**

If there’s a song where lyrics hit pointedly this episode, this would be it. Farkle grapples with all of the uncertainty and confliction he’s felt about his own sense of self since the end of last season – is he doomed to be a monster, acting selfishly and reactively as everyone casted him? And if he is nothing but a monster… does he kill it?

_All this pain, all this fear began because of me  
Is the thing they see, the thing I have to be?_

**INT. AAA - HALLWAY - DAY**

As the march bit starts, we throw between the protests going on outside with their chants and Jack reconvening with key board members. The _“no harm comes to him” _belongs to Jack, obviously speaking on behalf of Lucas.

Farkle is the focus again on the second verse, dramatically making his way through the halls as he tears himself up over the two parts of his identity.

_Was I a monster from the start?  
How did I end up with this frozen heart?  
Bringing destruction to the stage  
Caught in a war that I never meant to wage_

He bursts through the doors to the dressing room hall –

**INT. AAA - AUDITORIUM - DAY**

And ends up on the stage, nothing but a spotlight illuminating him as he settles into the softer bridge. When he speaks to his father, Stuart appears on his right and watches him wisely. There for Farkle to seek wisdom from… but not able to give him the answer.

_Father, you know what’s best for me  
If I die, will they be free?_

Then he turns to his left, where JENNIFER MINKUS is watching him with love and pride. He seeks counsel from her too, wondering whether his silence will be just as destructive as his active mistakes of the past.

_Mother, what if after I’m gone  
The cold gets colder and the storm rages on?_

Suddenly, the truth seems to hit him.

_No! I’ve got to stay alive, to fix what I’ve done –_

Farkle whips around and marches back through the wings, determination taking over his features. He travels through the darkness…

**INT. AAA - HALLWAY - DAY**

And pushes back out into the hallway for the final verse, reaching his decision. Maybe he’s a monster – maybe he’s always destined to be broken, selfish, a little bit off and a little bit wrong. But when opportunities are presented to him to make a difference, he can _choose_ to make a difference. He can choose to speak out, even when it’s complicated. Even when it’s not in his own self-interest.

As he sings the final resounding note, we cut between him stomping his way towards the lecture hall and belting in the spotlight center stage. It’s powerful in the same way his performance of “Santa Fe” was, only this time it’s not defeat provoking the emotion.

Farkle looks to the school board members standing outside the lecture hall, everyone reconvening for final testimonies. Then he pushes through the doors and marches inside, disappearing behind them.

* * *

Jack is rushing back to the lecture hall, nearly bumping into Anne Marie. They both apologize until they realize who they’ve bumped into, growing colder. Jack claims this is a low move, and a bit hypocritical considering how she’s always talking about professionalism. Anne Marie scoffs, rolling her eyes.

> **Anne Marie:** It’s just a job, Jack. They presented a case that I happen to agree with, and paid me a fair amount of money for my services.
> 
> **Jack:** Oh, I’m sure they did.
> 
> **Anne Marie:** It’s not personal, Principal Hunter._ [ shortly ] _Unlike you’re so convinced everything is.

She pushes through the doors, leaving him behind. Jack forces himself to take a deep breath, cooling his temper and stepping in after her.

**EXT. AAA - DAY**

While the war rages on, Zay is distracted by a call on his phone. He waits for a voicemail, although he recognizes the number as the same one who gave him the information about his callback. More likely than not, this is whether or not he actually got the part.

He moves away from the crowd, taking refuge down by the bottom steps. Releasing a sigh, he holds his breath when the voicemail comes through and raises the phone to his ear to listen.

After a long moment, a huge grin spreads across his face. He almost falls over, reaching out for the banister by the stairs for support.

> **Zay:** Holy shit. Holy shit!

Charlie notices his outburst, jogging down the steps and asking him what’s going on. He stammers out half an explanation that makes absolutely zero sense before Zay manages to find the words, telling him that he got the part. He got the role in the Off-Broadway production.

Charlie’s jaw drops. He takes Zay’s shoulders.

> **Charlie: **Oh my God._ [ happier ]_ Oh my God!

In the excitement, they embrace, and it’s not the end of the world. In that moment, it’s just a moment of pure joy, shared between two good friends. When they pull apart, Charlie has a million questions.

> **Charlie: **Well, what’s the role? What’s the schedule like? When are performances going to be?
> 
> **Zay: **I – _[ breathless ] _I don’t know! I still have to accept the role.
> 
> **Charlie: **… okay? Okay, well, do it! Call them right now!

Although he’s clearly thrilled, Zay claims he can’t just do that. When Charlie asks why not, Zay sort of shrugs and states that he just needs to think about it. You know, gotta consider all the factors before making a decision like this. Charlie stares at him like he’s crazy, wondering when the hell Zay Babineaux suddenly became hesitant.

Then realization washes over him. He did that. Zay was never an overthinker… until they got together. When Charlie became a priority, and dragged along all his baggage and conditions and trained hesitancy with him.

Zay isn’t paying attention to his change in demeanor, still smiling as he glances down at his phone. He’ll probably accept it, of course, but… it’s just an honor to have gotten an offer. Crazy, how quickly things can change like this. Isn’t it?

> **Charlie, blankly: **… crazy.

**INT. AAA - LECTURE HALL - DAY**

Farkle has taken to the podium, Lucas looking less than thrilled at his presence. How he could possibly help his case, he has no idea, and from how flatly Farkle is answering Anne Marie and Jack’s questions it doesn’t seem like he’s all that intent on selling Lucas’s good merits.

Anne Marie isn’t going easy on him either. To her, this sudden additional testimony is a fumble on the defense, and she’s going to milk Lucas and Farkle’s problematic dynamic for everything it’s worth. Although Farkle gives his point about how he was responsible for half of their tangles and certainly acted as a provocateur, Anne Marie still uses it to craft a more unfavorable impression of Lucas.

However, after a certain point, Farkle has had enough. That’s when the tables really start to turn, just when Anne Marie and the Bradfords think his presence is a home run for them.

> **Farkle:** Miss Winthrop – ladies and gentlemen of the school board – I’m going to be fully honest. It’s a creed I picked up after my failed suicide attempt, which I know you’re aware of since you elected to feature it in one of your articles.
> 
> **Lucas, under his breath:** Oh, God.
> 
> **Anne Marie: **Certainly. By all means, Mister Minkus.
> 
> **Farkle: **Here’s the read. Lucas James Friar sucks. I think you’ve proven that well enough this afternoon, and I wasn’t even here. It’s not hard to prove – he sucks. There’s a reason I spent three years calling him “Jackass.”
> 
> **Anne Marie:** Yes, I think we’ve made that quite clear. Thank you –
> 
> **Farkle: **But I suck, too.
> 
> **Anne Marie:** … I’m sorry?

The tension in the room shifts somewhat. Jack raises his eyebrows – Lucas stares at Farkle, not sure what to expect.

> **Farkle: **I suck just as much as he does. I mean, I’m a fucking monster. _[ pausing ] _Sorry, is cursing allowed? If not, you can strike that from the record.
> 
> **Evelyn: **Go on, Mister Minkus.
> 
> **Farkle: **Point is, I’m a menace. We all hated Lucas, but everyone hated me too. And my best friend, Maya Hart, she’s an absolute maniac. Cut-throat, calculating, could and would throw me off the catwalk if it would help her career. But _damn_, is she talented. So am I, in theory. And so is Lucas, just not in the same way. It pains me, I mean, truly _pains_ me to say this, but we would not have pulled off half the things we did in the three years we’ve been here if it weren’t for him and the way he leads the student technicians.

Well. This is taking an unexpected turn. The school board sits up straighter in their seats, leaning forward with interest. Anne Marie glances at them, then back at Farkle, trying to anticipate where this is going and develop a counterpoint. The Bradfords seem just as unsettled as Lucas and Jack – there’s really no way to determine where this will end up.

> **Farkle: **So yes. Lucas _sucks_. It’s not hard to prove that. But so do I. So does Maya. So does most of the student body. The way I see it, I think you need to reevaluate what this whole trial is even trying to determine. What credentials are you measuring Lucas against? Because if it’s like… merit or being a good person, then that’s not unique to Lucas James Friar. If you’re deciding whether someone should be allowed to stay because they’re a good person, then the school should just shut down. No one here is perfect, and you could put any one of us in that seat and debate for hours whether we deserve the right to be here.

The board takes this in, murmuring amongst themselves. Evelyn eyes Farkle with keen interest, obviously intrigued by what he has to say.

> **Farkle: **And if you _remove_ that element, well… _[ plainly ] _Then I’m not sure you’ve got a case at all. 

Okay, now _there’s_ a strong statement. Missy narrows her eyes, not all that fond of this Farkle Minkus kid. He remains impressively calm though, not at all smug as he harpoons half of their case against Lucas.

But Anne Marie is a skilled lawyer, and she’s not going to let this knock her off her game. She waves him off, turning to the board.

> **Anne Marie: **Thought-provoking perspective._ [ with a shrug ] _But hardly relevant.
> 
> **Jack:** Are you kidding me?

Lucas jumps, surprised by Jack’s outburst. He rises to his feet, leveling his glare with Anne Marie’s.

> **Jack:** This entire debate has been matters of opinion! You can’t just dismiss one important testimony because it doesn’t align with your case.
> 
> **Anne Marie: **Well, I think then perhaps we should at least consider the suspiciously late addition to the schedule Mister Minkus demonstrated. One has to wonder what sort of last minute desperate maneuver… in a school full of actors, a favor or a bribe –
> 
> **Jack, scoffing:** _Bribe_? The Bradford prosecution is going to lecture the board about _bribery_?

Well, that escalated quickly. Evelyn regains control of the room before anything more can be said, hurting _either_ of their cases. She urges them to maintain their professionalism, but it’s clear people are heated on all sides. Lucas looks like he’s going to be sick.

Evelyn declares that they will take a ten minute recess, and then come back together for closing statements. She personally feels they won’t need much else after all the other discussion they’ve heard today.

**INT. AAA - JACK’S OFFICE - DAY**

Jack and Lucas have regrouped in his office, Jack pacing and lamenting the tactics that the Bradfords and Anne Marie have stooped to in this process. This isn’t a fair process, this is a circus, that much is certain.

Lucas isn’t contributing to the vent session. He’s not fired up like Jack, but he’s no longer mutedly resigned either – the reality of the situation is finally starting to hit him, and that resignation is bubbling into panic.

> **Lucas:** I’m leaving Triple A.
> 
> **Jack: **It’s not over yet.

Lucas is pacing now too, but it’s not strident like Jack’s. He’s fretful, hands shaking, like an animal trapped in a cage. He’s been cornered, and he can’t hold back the fear no matter how badly he tries.

> **Jack:** Lucas, breathe –
> 
> **Lucas, shaky: **They’re going to send me back to Quincy. _[ choking on it ]_ I can’t go back. I can’t –
> 
> **Jack: **Lucas – hey. Hey!

Jack crosses the room to meet him, taking his shoulders and forcing him to stop. He gets him to look at him.

> **Jack, fiercely: **Listen to me! I am not going to let _anything_ happen to you. Do you understand? _Anything_!

Lucas stares at him, still trembling.

**INT. AAA - HALLWAY - DAY**

Eric is rushing through the halls, Charlie running in from the entrance. He tries to catch up to him, claiming he needs to talk to him. Eric states that things are a bit high pressure at the moment, and almost dismisses him, but Charlie pleads his case.

> **Charlie: **Please, Mister Matthews! It’s important.

Eric hesitates, looking at him and contemplating. Then he nods, gesturing for him to walk with him. Charlie jogs to catch up.

**EXT. AAA - DAY**

Farkle has rejoined the performers, recounting his testimony and how the place basically exploded before he left. Isadora asks if he thinks that’s a good thing or bad, and he honestly has no clue. It’s all so arbitrary anyway, it’s just going to come down to how people decide to vote.

Maya admits that she’s surprised Farkle testified in favor of Lucas. Like, she does get it, but truthfully she’s not even sure she would’ve done the same. Farkle admits he wasn’t either at first, but he knows how much he’s changed in the course of a year. Maybe this time last year, he would’ve made a different choice… but that’s not who he is anymore. And he’d hate to be judged solely on the mistakes he’s made – he doesn’t think Lucas deserves it either.

Zay nods in respect, giving him a solid low-five. Maya smiles and wraps her arms around Farkle’s, resting her chin against his shoulder in that way that’s starting to become an affectionate habit.

**INT. AAA - LECTURE HALL - DAY**

Back in the proceedings, Anne Marie is wrapping up the closing statement for the Bradford case. It’s obvious that Lucas does not deserve his place at Adams, and someone like her client has a fair argument against the way Mister Hunter runs the school. And Missy Bradford can pay to attend it, so why should she be barred opportunities due to an arbitrary rule? If the counsel views the situation objectively, then there’s a clear sense of right and wrong in this scenario.

Well, no arguing with that last statement. The board finishes taking their notes, Evelyn turning the tables to Jack. He glances to Lucas, who is staring at the table and avoiding eye contact with everyone in the room.

Then he rises, walking around the table and thanking the board for the opportunity to make their case this afternoon. He starts by pointing out this whole situation is inane, considering he did make a decision in this regard that the Bradfords elected to ignore. He believes changing his stance on a rule for a few dollar signs would set a dangerous precedent, especially when it’s at the expense of another student – regardless of the student. But hopefully, the board can identify that much for themselves.

Jack hesitates, contemplating for a moment. Speaking with confidence, he rounds out his statement.

> **Jack:** Miss Winthrop is correct that there is a clear sense of right and wrong here. One that I feel strongly about, that I know will define my career regardless of the outcome this afternoon. So allow me to make that stance crystal clear. _[ clasping his hands together ] _Should you decide to remove Mister Friar from Adams Academy of the Arts for something as twisted as this, then I hope you’re prepared to find a new head administrator. Because I would resign and step down from my position, effective as soon as that decision is reached.

A ripple of shock runs through the room. Lucas lifts his head, horrified. The board is stunned by the stunt, not sure how to react – although it seems as though Evelyn Rand might be holding back a chuckle. Anne Marie and the Bradfords are particularly incensed, identifying the emotional power play for what it is. Not logic, that’s for sure.

But Jack isn’t trying to act like it is. He maintains his professional demeanor.

> **Jack:** That’s all. I’m sure you have plenty to consider moving forward.

Jack returns to his seat next to Lucas, not allowing his facade to crack even a bit. Lucas is still in shock, staring at him with dread. Unable to believe that he would go down on this sinking ship with him.

**EXT. AAA - DAY**

Isadora finds Riley in the crowd, claiming that the proceedings have wrapped and now they’re just awaiting final verdict. If Riley is going to address the press – and Isadora clearly thinks she should – now is the time.

She nods, returning to the spotlight section and taking the microphone from Nigel. Once she’s sure she’s gotten the attention of the media, Riley launches into her final speech of the protest. She reiterates all of the points that they and Jack have been making all afternoon, with that special spark only Riley Matthew can deliver.

Then she claims she wants to address the board, and the Bradfords, directly. She states that they can make whatever decision they choose, that’s obviously out of their control. But if they think they can remove one of their own and this will just go away, then they’re dead wrong.

> **Riley: **This school is built on the power of our voices, and we will never stop using them._ [ impassioned ]_ If you choose profit over the people, then mark my words, you will never stop hearing from the people.

It’s a compelling moment, and the passion with which Riley delivers it makes the threat damn believable. A modern day mockingjay…

Riley is done, but her classmates pick up the slack. The chant arises in the crowd again: _People over profit! People over profit. People_ –

**INT. AAA - AUDITORIUM - DAY**

In contrast to the riot just outside, the auditorium is hauntingly quiet. All the energy that usually commands it day-by-day is being expended elsewhere, leaving it empty and hushed.

Which is precisely why Lucas is there. He’s seated on the floor in front of the center back section of the house where the techies usually congregate, arms wrapped around his knees. Absorbing the temporary peace and the strange belonging he’s always felt in the auditorium, regardless of how many highs and lows have occurred inside of it.

A door opens from behind him, and Isadora appears at his side a few seconds later. She doesn’t say anything, dropping down next to him and tilting her head back against the section panel.

After a moment, she reaches out and places her hand on his knee. She doesn’t offer anything more than that, but the message is loud and clear.

> **Asher: **Mind if we join you?

Lucas and Isadora look up, Asher and Dylan walking hand-in-hand in their direction. Lucas nods and they settle down across from him, sharing in the silent support. Wanting to be with him in these last moments, regardless of where he goes from here.

> **Lucas, to Dylan: **Heard you were a pretty good captain in my absence.

Dylan shrugs humbly. Asher smiles at him, but someone beats him to a confirmation.

> **Jade: **He was.

Lucas looks to his left, and there they are. Jade, Nate, Jeff, and Dave, also having found their way to him. They join the sit-in without another word, completing the circle. All of them together in solidarity, a complete set for the first time in months.

They sit in the silence for a long time. Then Dave breaks it, releasing a sigh.

> **Dave:** Fucking capitalism, man.

The declaration hangs in the air for a long moment. Then Lucas lets out a laugh – exhausted, but acknowledging how ridiculous this whole thing is. Taking comfort in Dave’s unique brand of eccentricity, as he always has.

And when it starts, the laughter is contagious. Before long the entire techie crew is laughing, sharing a moment of levity in spite of how heavy the situation feels. Finding reprieve in one another, as they have for the last three years.

Isadora jostles Lucas’s knee, shaking her head as she chuckles. Asher leans into Dylan’s shoulder. Jade hugs Dave’s side affectionately, playfully nudging Nate’s foot away as he attempts to kick at Jeff and Dave across the circle.

> **Charlie, pre-lap: **Say what you want about Triple A, but the best thing about it is the people. Even when they’re the worst.

**INT. AAA - ERIC’S OFFICE - DAY**

Charlie is seated across from Eric, speaking with more certainty than he ever has in his office. This time it’s his choice to be there, talking through everything he’s been tossing around in his head for months. He’s in the midst of trying to provide full context for what he needs help with.

> **Charlie:** I know that better than anybody, and that’s part of what made applying somewhere else so hard. Like, why would I leave Adams? Everything I care about is here. Everyone I love is here. _[ a beat ] _I mean, I know why. I applied because I was scared. At the time, I fucked up, and made choices that hurt someone I love. And I thought the only way to deal with that was to run from it – because I’ve been doing that my entire life, for as long as I can remember. Running, rather than facing the truth.

Eric listens patiently, giving Charlie all the time he needs to process.

> **Charlie: **The more I think about it, the more I think love in it of itself is inherently selfish. And that’s weird, because love is supposed to be the ultimate virtue, you know? But it’s so dangerous, when you let it get out of control. It’s… it’s looking at something or someone and saying I like that thing so much, I want it all to myself. I want it always, I want it to be mine. And that’s selfish. _[ shakily ]_ And for a person who tries really damn hard to be good, and virtuous, it’s amazing how much of a contradiction I can be. Perfect and polished on the outside, but one crack from breaking to pieces on the inside. Acting like I care about Christian values, about helping others, when it took me way longer than anybody else to determine that even _showing up_ for someone else could be the right choice if it put me in any sort of jeopardy. Being so consumed by this thing that’s supposed to be the most powerful good there is, consumed by love, but somehow twisting it into a selfish thing. Loving but with conditions attached, keeping it secret, holding that love so tightly in my grip that they can’t even remember how to move freely anymore. All because I’m selfish, and I’m a coward. I’m so scared of the truth – of who I am, the selfishness and… and being gay –

The moment passes without consequence, but Eric doesn’t overlook the importance of the statement. It’s the first time Charlie has openly stated his sexuality, and the first time he’s shared it with someone by his own choice.

> **Charlie: **– that I’m constantly running, only now I realize I’ve been dragging everyone else along behind me while I do it. I’m running, and running, and they’re the ones getting the bruises and the scuffs and the dirt while I get to maintain my squeaky clean, inoffensive persona. _[ a deep breath ] _And I don’t want to be that way. I’m done being that way… but I don’t know what I’m supposed to do next.

Eric thanks Charlie for sharing all of that with him, and delicately states that he has to admit he thinks he is being too hard on himself. Everything Charlie is experiencing is a pretty universal human sensation, at one point or another. It’s definitely good to recognize you have faults, but to flip the script and make yourself the inevitable villain at every turn won’t help anyone either.

> **Eric: **You’re not a saint, Charlie. You’re human, and part of being human is being imperfect. Making mistakes, hurting others, making the same mistakes again.

Charlie wipes at his eyes, not even realizing he’s crying until the tears are on his cheeks.

> **Eric:** Acknowledging those mistakes is the first step – and it seems like you’ve mastered that. What matters most is what you do to repair those mistakes, and that just comes down to a whole other series of choices.

Active choices. Choosing to be good, to care about others and help whenever you can. Charlie absorbs this, accepting the tissue Eric hands him with an embarrassed laugh.

All of that aside… Eric curiously asks what Charlie thinks about the Haverford offer. He went out for the opportunity at first because he was scared – a mistake, it seems, in his eyes. But all that matters is what he does next… so what is he thinking about that?

Charlie lists all the pros and cons he’s been weighing in the last couple months. The chance to start new, to prove himself capable, to try something new and grow in a different way – versus the home and family he’s built at AAA. The bananas chaos he’s grown fond of, and the people he doesn’t want to leave. Especially that…

> **Charlie:** I started this whole thing because I messed up with the person I love the most, and I wanted to escape the consequences. _[ a beat ] _But now… I’m still being selfish. Because I thought I was setting him free, letting him go, but somehow I’m still holding him back. It’s like… as long as I’m here, and we’re together, I’m never going to let go of that leash. I don’t want it to be that way. I don’t want to leave, but… I don’t want to let this keep going.

Eric processes this. It’s a tricky situation, that’s for sure, especially while Charlie is in such a harsh emotional place.

Then, a lightbulb seems to go off in Eric’s head. He’s hesitant to speak on it, but Charlie can sense the change in his expression.

> **Charlie: **You have an idea. _[ expectant ]_ What are you thinking?

Eric pauses, still hesitant. Having this conversation with another student seems like a lot to ask… but all Charlie wants is to accomplish something exactly like this. Despite being torn, Eric forces himself to speak up.

> **Eric:** I’m just thinking… no solution will be perfect. I can tell you that with certainty. But if you’re willing to consider it… I think we might be able to solve more than one problem if we work together. Are you good with that?

Silence hangs over them as Charlie contemplates, running through all of the possibilities in his head as he’s so well-trained to do. Then, something in his expression hardens.

Active choices. Helping others, even when it’s inconvenient for yourself. _Especially_ then.

> **Charlie, with a nod:** Tell me what I can do.

**INT. AAA - LECTURE HALL - DAY**

The board has reassembled, Evelyn rising to address the room. It’s so quiet, you could hear a pin drop. Missy and her father seem relaxed, prepared for victory – Lucas and Jack are experts at restraint, expressions neutral and braced for the worst.

Evelyn gives a short speech about how odd and unique this whole experience has been in the long history of her career as a school board member. She’s honestly had an opinion of her own basically since this story first dropped, but as top member of the board she places a deep value in letting each of her fellow delegates get the chance to speak their mind. It’s a principle she highly regards, a precedent she intends to set in stone.

That being said, both cases raised important and interesting points. There’s a lot of subjects raised during discussion today that might warrant more conversation in the future, and because of that it’s no surprise to her that the vote was so closely split.

Lucas grits his teeth, clenching his fist on his knee. Jack gently reaches over and touches his wrist, getting him to unclench his grip.

> **Evelyn: **So, let’s allow this to set a precedent as well. In a 5-4 vote… the school board has voted in favor of Adams and Principal Jackson Hunter.

A wave of surprise crashes through the room. Lucas and Jack are both surprised, watching Evelyn with wide eyes.

> **Evelyn: **A decision was made, and to allow Miss Bradford into the school by the means presented today would set an example the school board ultimately does not wish to support. Lucas James Friar, enjoy your senior year at Adams Academy for the Arts. _[ nonchalantly ]_ This meeting is adjourned.

Anne Marie is disgusted, obviously miffed that _emotion_ was the winning maneuver. Missy looks about ready to throw a hissy fit, and Carson is already placating her.

Lucas and Jack both get to their feet, and for a moment, it seems as though they might do something insane like hug. But Jack settles for a bracing shoulder pat instead, the smile on his face wholly genuine.

> **Jack:** Looking forward to one more year.

Lucas scoffs out a laugh, still stuck in disbelief. He blankly states that he has to go tell the others – he’s got to tell Dora and Asher and Dylan. Jack nods him onward and lets him go, Lucas disappearing through the doors.

**EXT. AAA - DAY**

The crowd has grown restless, awaiting any sort of news. Zay has his arm around Riley, comforting her as her nerves start to overcome her resolve.

Dave pushes through the doors, all attention to turning to him. He pauses for a long second, and then pumps his fist in victory when he claims they won. Lucas isn’t going anywhere – and the people prevailed!

It’s instant revelry. The assembled crowd erupts into cheers, transitioning right into celebration. Zay and Riley hug, the former picking her up and spinning her. The A class performers embrace and jump around. Maya lets out a theatrical war cry.

Farkle and Isadora embrace, only realizing that’s weird until they’re a few seconds into it. Farkle pulls back and clears his throat, Isadora stating she should text her mom the good news. He nods, agreeing that she should do that. She steps away, shifting her focus to her phone.

The last response she got from Valerie was a couple days ago, encouraging her to fight the good fight and to let her know everything that happens. Isadora has given her updates since then, but she sends this update with an excited flourish.

**INT. AAA - LECTURE HALL - DAY**

Evelyn approaches, congratulating Jack on a fight well fought. She had little doubt he would pull through, of course, and she’s always greatly admired his strong belief system… it’s a wonder who that deciding vote came down to…

Still, even in the midst of the celebration, Evelyn has to deliver a caution. She drops her voice down to a murmur, warning Jack that the stunt he pulled today isn’t going to just evaporate. The other school board members who voted against him are not pleased, and there will be consequences for the way he handled it.

Pointedly, Jefferson Graham and Harrison Yancy send a pointed glare in his direction as they discuss amongst themselves. Jack swallows, disappointed but not surprised.

> **Evelyn:** Questions have risen as to how Adams is run, Jackson. _[ empathetically ]_ You need to prepare for a whole lot of change.

Well, that’s pleasant and not ominous at all. Off of Jack’s bittersweet expression…

**EXT. AAA - DAY**

For how all-consuming the Bradford debacle was the day before, it’s impressive how quickly life returns to a state of equilibrium. The formerly crowded and riotous scene of student protest is calm and clean come Friday morning, the school year scheduled to wrap up as normal in the last couple of days next week. As if nothing happened, like life has proceeded as normal this entire time.

But it did happen. History was made at AAA, and no one is likely to forget it any time soon. As for what happens next…

**INT. AAA - HALLWAY - DAY**

Farkle is at his locker, getting the chance to clean it out this year. He takes delicate care to put his photos of his friends safely away in the front pocket of his backpack. As Nigel and Yogi pass him in the hall, they offer him friendly pats on the back and the promise to catch him in class. Still a couple performances and classes left to round out the year.

And boy, what a year it has been. Farkle takes in the halls around him, remembering how for a while there, there was a real chance he was never going to come back into these halls. Grateful, it seems, that he’s still there.

Isadora approaches, leaning against the locker next to him. She states how weird it is that so much can happen one day, and then school can just proceed as normal the next.

> **Farkle: **Well, only a couple more days of that. For now.
> 
> **Isadora: **It’s just strange. How quickly things change. Instantaneous, really.

No doubt about that. After a moment, Isadora shifts topics and thanks Farkle for his testimony. She figures it probably wasn’t easy for him to come to that decision, given their history. Obviously, there’s no way to know if it really made a difference… but it was something. He spoke up, in a moment where it might’ve really mattered. Farkle shrugs, thoughtful.

> **Farkle: **You know, this time last year, everything fell apart because I made a selfish move. I was thinking of me, just me, and I sure paid the consequences for that. _[ a beat ] _A lot has changed since then, but it’s easy to _say_ things have changed rather than prove it. A theory needs evidence to be proven, after all.
> 
> **Isadora:** Naturally.
> 
> **Farkle: **Can’t know for sure without repeated trials, but… I figure choosing to make the choice that wasn’t directly beneficial to me is probably a good sample of evidence. My hypothesis is that things held together because we held together._ [ certain ]_ And I’ll take that conclusion over last year’s any day.

Isadora examines him, a smile that might be described as fond creeping onto her face. Farkle closes his locker, raising his eyebrows at her before leading the way down the hall.

**INT. AAA - AUDITORIUM - DAY**

* * *

**Song Cue ♫ ♪ “Delicate” as performed by Damien Rice || Performed by Asher Garcia (feat. Dylan Orlando)**

Yes, classes are still in session for a few more days, and there are still some lingering final performances to wrap up. Asher performs the ballad as his final project, bending the rules just slightly so that Dylan can be up there with him to back him up. No one tries to argue him on it – Dylan and Asher are undeniably better together, after all.

Dylan sits behind him on a stool, playing the acoustic guitar. Asher’s vocals are soft, imbued with a sense of peace it feels like we haven’t felt all season. As the other orchestration comes into play, Haley, Clarissa, and Nigel are backing him on the strings instruments for the full effect.

The performance also doubles as the score for the next scene, setting the mood aptly…

**INT. AAA - TEACHER’S LOUNGE - DAY**

Riley is fighting with the protest signs, attempting to put them in the large closet in the teacher’s lounge for safe-keeping. But they’re hard to handle all on her own, and there’s a lot of them, and only so much closet space. The unglamorous part of an impassioned protest – the clean-up.

Lucas pokes his head into the doorway, grateful to have found her. He asks what she’s doing and she jumps, just looking at him for a moment. Soaking up the fact that he’s still there – that he gets to still be there, for at least a while longer. Then she clears her throat, explaining her battle with the posters and signs.

> **Riley: **Eric said we should keep them, for posterity and all that, and also because you never know when you’ll have another student protest. Reduce, reuse, recycle.
> 
> **Lucas:** Sure.
> 
> **Riley:** And I was in total agreement, but now that I’m here actually trying to get them all to stay put…
> 
> **Lucas:** Do you want some help?

Riley blinks. Surprised by the offer, even though she doesn’t know why. She shouldn’t be, not from him.

> **Riley:** Sure. Sure, that would be great.

Lucas comes over to join her, rolling up his sleeves and helping tackle the stubborn protest memorabilia. They manage to complete the task as a team, stuffing it all into the closet and shutting the door firmly to seal it inside.

> **Riley: **Wouldn’t want to be the teacher who opens that at the start of next term.

Lucas laughs, earning a bashful smile from Riley. There’s a lingering moment between them, and then Lucas asks why Riley went to so much effort in the first place.

> **Lucas:** You really didn’t have to do all that.
> 
> **Riley: **I know. I don’t _have_ to do anything. _[ off his eye roll ] _But of course I did. I wasn’t going to just do nothing.

Fair enough, but not exactly an explanation. When Lucas eyes her expectantly, she sighs, crossing her arms and shrugging. Knowing he can tell there’s more to it, but not sure there’s a way to articulate it.

> **Riley:** It just wasn’t right. Everything they were doing. Putting you on blast to gain something for themselves, exploiting your personal difficulties for themselves –
> 
> **Lucas: **Well, hard to say I didn’t get myself into that.
> 
> **Riley: **But you didn’t _deserve_ it, Lucas. No one deserves to be treated that way, even you. _[ a beat, then softer ] _Especially you.

That’s certainly a new take. Lucas absorbs the sentiment, holding her gaze. Trying to believe, for the first time, that maybe she’s right.

She looks away first, overwhelmed by the moment. She shrugs her shoulders again, still searching for what to say. The longer she rambles, the softer Lucas’s expression grows.

> **Riley: **And I mean, they were just going to kick you out. And for what? Again, no one should have to worry about something like that, but… I mean, it’s you. And this is your home._ [ a beat ]_ This is your home, and I wasn’t just going to let them take it from you.
> 
> **Lucas, thoughtful: **… I don’t think home is a place.

Riley lifts her gaze, meeting his eyes. Lucas lingers in looking at her for a moment longer, really looking at her… and then he closes the distance between them, pulling her into a kiss.

It takes a moment for Riley to catch up with what’s happening, almost in disbelief. But that only lasts a second, and she initiates the next kiss with double the enthusiasm and zero hesitation.

It’s about damn time.

They get lost in it, Riley wrapping her arms around his shoulders. They stumble a bit and back into the closet door, taking a moment to ground themselves. Still close together, foreheads touching, breathing shallow as they catch their breath.

Riley opens her eyes, taking him in while he’s so close and right there in front of her. Finally in her grasp, after the longest wait in the world.

Then, she laughs. Quiet, relieved, genuinely happy.

Lucas mirrors her smile, looking away shyly. Riley tilts his head back towards her to give him another slow kiss, which he happily accepts.

**INT. AAA - AUDITORIUM - DAY**

Dylan finishes out the last few riffs of the song, Asher watching him fondly with his chin propped on the microphone. He plays the last chord, then lifts his head to lock eyes with him. Dylan gives him a loving smile, pride shining in his eyes.

As it should be.

* * *

**INT. AAA - JACK’S OFFICE - DAY**

Jack finishes throwing out the last of the Bradford materials, settling down in his desk chair. He takes a moment to look around at his office… and then releases a sigh. Finally getting to breathe, after holding his breath for what feels like months.

Eric knocks lightly on his door, leaning against the doorframe and congratulating him.

> **Eric:** I didn’t know you were a lawyer.
> 
> **Jack: **Ha ha ha… so very funny…

Eric can’t help but grin. Jack thanks him for all of his help – he would not have been able to get through it without him.

> **Eric: **Well, don’t give me too much credit. I’m not exactly a legal expert –
> 
> **Jack: **I’m not just talking about that, Eric.

Oh. Well… oh. If that doesn’t sum up how joined their work is, how this place really only runs because of one another… Eric nods bashfully, accepting the compliment. A moment lingers between them, but it’s not heavy. It’s something light, refreshing… something new between them, even if they don’t quite know how to define it yet.

Even still, Jack claims the show must go on. He highly doubts Missy Bradford is just going to let this thing die out – considering all the trouble she went to this time around, he doesn’t see her giving up the crusade so easily. What baby wants, baby gets…

As it turns out, that’s something Eric wanted to talk to Jack about. He actually may have discovered a different compromise while Jack was going to court… not ideal, by any stretch of the imagination, but… Jack straightens up, curious and concerned.

**INT. AAA - BLACK BOX THEATER - DAY**

The A class is assembled, and it’s pointed just how _different_ the energy in the room feels compared to the start of the year. There’s a real sense of camaraderie amongst them that was never there before, and the mood is light as they all chat before they’re dismissed.

That spirit only brightens when Riley and Lucas come through the door… holding hands. For a second everyone simply absorbs the sight… then Dylan gets to his feet, starting a slow clap. Dave joins in and before long the entire class is sarcastically applauding, Yogi wolf-whistling. Riley shakes her head and bites back a smile as she leads the way to their seats, Lucas flipping the techie crew off as they go.

Harper and Shawn take the stage, genuinely congratulating the class for getting through this hell year. It was tough – for all of them, as the look Shawn and Harper exchange indicates – but they survived it. They stretched themselves, they learned some hard lessons, and they grew stronger for it. They raised their voices, and it made a difference. The class breaks into applause again, Zay leaning forward to jostle Riley on the shoulder.

And with that, there’s not much more to say… except it’s a total mystery what the hell senior year will dish for them. There’s one more announcement they need to give… only it’s not their announcement to make. Harper passes the focus to Charlie, gesturing him forward as she and Shawn give him the floor.

> **Maya:** _[ under her breath, to Isadora ] _I’m still trying to figure out when we gave him speaking privileges…?

The class is obviously at a loss for what Charlie could possibly be about to say. He’s never been one for grand gestures, but he’s up there now, addressing the full room of them. He starts by once again shouting out Riley and Isadora for the effort they put into the protest, and he mentions how inspiring it was to be a part of it and see what it really means to be selfless. To give so much of your time and energy to something you care about, not because it benefits you, but because it’s the right thing to do.

He’s also really happy that Lucas will get to stay at Adams.

> **Charlie: **You’re a big part of the reason this class is as good as it is – I mean, you all are. And God… is it a _good_ class. Best thing I’ve ever been a part of by far. It’s no wonder Missy Bradford wanted in so badly.

From his tone, people are starting to get concerned. Haley and Clarissa are watching him curiously, wondering what’s going on. Riley frowns.

> **Riley:** Charlie?
> 
> **Charlie: **Missy wanted to get into Triple A, and she wasn’t going to just stop at Lucas. I think we all know that. But the good news is, she’s not going to be coming after anyone else._ [ a beat ]_ Missy isn’t going to come for anyone else’s spot in the senior class, because she’s taking mine. I’ll be transferring to Haverford Prep, starting in the fall.

The reaction from the A class is stunned, then uproarious. All of them protest, ranging from shocked outbursts to outright denials. Charlie tries to get them to calm down, trying to keep everything from derailing.

> **Dave: **This rich bitch is begging to get egged.

Charlie shouts over them, getting them to pull it back together. He speaks with all the confidence he can muster, trying to be strong.

> **Charlie: **It’s good, okay? It’s gonna be good. I think… I think the change will be good for me. And this way, no one else has to deal with the Bradfords –
> 
> **Nate: **Until we have to deal with her every day.
> 
> **Clarissa: **Yeah, Charlie, this isn’t fair. You’re part of the A class. You belong here.

Maybe so, Clarissa. Maybe so. Charlie’s facade cracks for the first time, hesitating when he tries to figure out how to respond.

> **Charlie, quietly: **Sometimes the right thing isn’t always fair. But I want to do this. I’m making the choice… even if it’s not ideal for me.

It’s clear there will be no arguing this. He’s made up his mind, making the most selfless choice he thinks he possibly could by letting them go.

> **Charlie:** But I asked Miss Burgess if it would be okay for me to do my final performance for you guys, even though it’s supposed to be one-on-one. If it was going to be my last one, I… I wanted to share it with you.

* * *

**Song Cue ♫ ♪ “Take Care of Yourself” as performed by Glee Cast || Performed by Charlie Gardner**

And what a final AAA performance he gives. Charlie effectively uses his swan song as a goodbye, his gentle and unassuming tenor creating the exact right feeling like a comforting hug. Even though all of them are stunned and some of his classmates are in tears – as is he, by the end of the rendition – he gives the distinct feeling that everything is going to be okay. It won’t be the same, but it will be okay. And that has to be enough.

He shares small moments with each of his major classmates – Yindra, and Nigel. He accepts a tight hug from Clarissa. He shakes his head fondly at Haley as he sings the lyrics _“no more tears to cry, I’m out of goodbyes,”_ wiping some of the tears from her cheeks.

She’s not the only one in tears. When he gets to Riley it gets harder to get through the performance, his voice cracking on the falsetto a bit as he takes her hand. She squeezes it tightly, mouthing an I love you before he pulls away. She shifts and hides her head in Lucas’s shoulder, who is still in complete disbelief.

By the time he gets back to the front and swivels to face them all again, there’s only one person left to address.

Zay has been silent the entire time, totally out of words. He’s just staring at Charlie, tears slipping down his cheeks even though it’s like he doesn’t know they’re there. He can’t process it. He can’t believe it’s actually happening.

But Charlie looks right at him as he sings the last set of lines, the eye contact deliberate and full of meaning.

_Take care of yourself,  
I love you._

* * *

**INT. CHUBBIE’S DINER - DAY**

In spite of the emotional whammy, there’s still plenty to celebrate. Another year around the bend, the fact that Lucas isn’t going to have to return to Quincy. No one is going to be absolutely decimated by Bradford money, so the junior A class has gathered at the local diner to celebrate the victory.

The techies share in a group toast, cheering the fact that the original odd octet are going into senior year still a united front. Dylan and Asher make a special toast to Lucas, eternally grateful that their fearless leader wasn’t brutally taken from them by the claws of capitalism.

> **Dave:** A-fucking-men.

Jade also adds an addition to the toast, signaling out Isadora for all the effort she put into the protest effort. It definitely didn’t go unnoticed, and while things aren’t completely all right and in order between her and the techie crew, it seems as though they’ll be able to repair things in the end.

She’s pulled from the moment by her phone ringing, recognizing Valerie’s number and eagerly going to take the call. She tells Lucas she’ll be right back, going into the back to answer.

They’ve made a great victory… but a victory they really only have because Charlie took the fall. Zay says as much, not nearly in the same high spirits as he sits across from Riley. She’s torn, caught between the elation of Lucas not having to leave and the reality of her good friend volunteering to sacrifice his spot instead. Charlie, pointedly, is not in attendance.

She questions if Zay really had no idea, if Charlie really didn’t say _anything_. He shakes his head, obviously embittered. Nothing about Haverford, nothing about the possibility, and definitely nothing about actually making the decision.

> Zay: No. No, he didn’t. And now he’s not even here to face it._ [ sharply ] _He’s just… gone.

Oof. Riley reaches across the table and takes his hand, offering whatever comfort she can.

Still, celebration. Lots of things to celebrate! Maya makes her way over to Lucas, pithily congratulating him on still somehow managing to evade cosmic consequence for his overall general existence.

> **Maya:** It seems you and I get to enjoy one more glorious year of barely tolerating one another.
> 
> **Lucas:** Oh, just what I was looking forward to the very most.
> 
> **Maya: **It’ll be even better now, considering you’ll be swapping spit with my roommate whenever possible._ [ off his disturbed expression ] _Yeah, speaking of, it would be peachy if you two could not do that in our shared bedroom. Just, you know, common courtesy.

Maya lecturing anyone about courtesy is a laugh riot, but Lucas just wants this conversation to end. As he points out, maybe they’ll get to avoid it anyway, right? If all goes as planned, she’ll be moving in with Isadora, and they’ll never have to cross paths outside of the AAA auditorium. Ever. And they should never speak of this again.

Speaking of, Maya asks where Isadora wandered off to. Lucas nods towards the back room, claiming she said she’d be back after she talked to her mom.

Well, it’s been a hot minute since she left to do that. Sure, there’s a lot to fill her in on, but Maya is nothing if not nosy. Besides, she’s not going to pass up the chance to jump in on a conversation with Valerie De La Cruz. Maya makes her way towards the back to look for her.

**INT. CHUBBIE’S DINER - BACK ROOM - NIGHT**

Maya pokes her head in to the back area, peering around for Isadora. She manages to find her sitting on an overturned bucket in the corner of the room, no longer on the phone. She questions what she’s still doing back here when the party is out there – and did she miss the call with Val?

Isadora doesn’t respond. She’s staring into space, expression totally blank. Maya grows concerned when she realizes her phone is at her feet, screen shattered after hitting the concrete flooring.

> **Maya: **Izzy?

She comes over to kneel in front of her, asking what’s wrong. Isadora still doesn’t speak, almost like she’s frozen. Maya gently touches her knee.

> **Maya: **Izzy, what’s wrong? You’re scaring me.

For another long moment, silence. Then she manages to speak, the words coming out numb.

> **Isadora:** My mom is dead.

The words hit like a freight train. Maya stares at her, stunned, the revelation slowly sinking in.

** _END OF EPISODE._ **


	17. The Sun Will Rise [ 2.13 ]

**Summary for the Chapter:**

> WHAT HAPPENS NEXT – News of Valerie brings Isadora and the group across the continent to Los Angeles. Wounds begin to heal, and lucky happenstance presents compelling new opportunities. Reflecting on all they’ve endured, the junior class looks towards senior year and begins to ponder what happens next.

**Notes for the Chapter:**

> ( Follow along with the music on Spotify [here](https://open.spotify.com/playlist/3rVB1uS7C1gzmwAzDKlPSu?si=q847bzVJRmmwLbgmnhdWSw)! )

**EXT. AAA - NIGHT**

**Song Cue ♫ ♪ “Go Ye Now In Peace” as performed by Rochester College A Cappella Chorus || Performed by AAA Juniors (feat. AAA Students)**

A crowd has formed on the steps of Adams, but the mood is far different than it was only hours ago. Whereas that crowd was there to protest, this one is here to mourn. To honor. To stand together. A candlelight vigil, dozens of little flames dotting the exterior of the school in a constellation of flame.

The choral piece is not typical fare for a student body that tends to lean towards glitz and glamor, but in this moment it’s exactly what’s needed. The beautiful harmony of the AAA students is clearer than ever before, a comforting embrace of sound amidst the tears.

And comfort is the most prominent force. It’s the last time we’ll see the A class as juniors, and while the reason for the gathering is somber, it’s nice to see them all so unequivocally _together_. HALEY FISHER and CLARISSA CRUZ stand on either side of CHARLIE GARDNER, arms linked. YINDRA AMINO and NIGEL CHEY share a candle, DARBY WINTERS and SARAH CARLSON hugging behind them as they sing.

The techies are closely gathered, NATE MARTINEZ standing solemnly between JEFF MONROE and DAVE WILLIAMS. Dave has his arms around JADE BEAMON, propping his chin on her head while she cries silently. NICK YOGI is leaned against Dave, hugging his side. DYLAN ORLANDO hugs ASHER GARCIA from behind, resting his chin on his shoulder and tilting their heads together.

On the steps, JACK HUNTER and ERIC MATTHEWS are stalwart and put together, hands clasped in front of them respectfully as they sing along. Admittedly, Eric is having a harder time holding back his emotion. HARPER BURGESS flicks tears from her cheeks. SHAWN HUNTER reaches out a hand to touch her shoulder, ANGELA MOORE at his side.

MAYA HART is singing through thick tears, holding tight to FARKLE MINKUS’s arm. She keeps him close as he watches fellow students contribute to the center of the vigil. It seems to be hitting him differently.

ZAY BABINEAUX allows RILEY MATTHEWS to rest her head against his shoulder until she steps forward, a flower in her hands. She steps forward to the central display and lays the blossom amidst the others, stepping out of frame to allow focus to rest on the memorial.

Flowers, cards, posters and old CDs. Photographs and memorabilia, all surrounding the framed portrait of VALERIE DE LA CRUZ at the core of it all. A global icon. A role model, inspiration, and mentor to so many of the students at Adams. A mother to one of their own.

The voices of the Adams student body float into the night, a touching send off for a woman truly unlike any other. Now, nothing but a memory and the things she left behind. All that’s left to do, once the mourning is done, is figure out how to move forward. What happens next…

* * *

** _Cue title sequence._ **

**INT. AAA - AUDITORIUM - DAY**

Charlie is in the auditorium alone, paying one more visit before he says goodbye. Unlike the rest of his classmates, he won’t be coming back after the summer.

He’s all the way in the rear behind the last curtain, looking up at the back wall. All along it, planks of 2 x 4 wood have been hung up. At the center of each one is a year, surrounded by scribbled initials.

Charlie is eye level with the one marked “2021,” certain handwriting quite familiar. Riley quietly enters and comes to join him, not interrupting his thoughtful silence as she looks at it with him.

> **Charlie: **It’s a coveted tradition. _[ off her intrigued look ]_ At the end of freshman year, every class gets their own plank. They emboss it with the graduating year -- for us, 2021 -- and then everyone in the class gets to initial it. Leave their mark, you know? Commemorate that we made it. That we were here.

Riley examines the Class of 2021 plank. Familiar initials jump out -- _ZB. MH. FM_. Even _LF_, clustered beside _AG_ and _DO_. The initials _WL_ can barely be made out after someone -- or perhaps multiple someones -- aggressively scratched it out.

> **Charlie: **_[ re: Wyatt’s ] _Obviously, it doesn’t account much for change. _[ a beat ]_ Any kind of change.

Charlie is looking at a different pair of initials now. _CG_.

Riley looks at him sympathetically. She knows how it feels to jump schools, but it’s hard to imagine how it would feel when you really don’t want to. When the one you’re leaving is the one you don’t want to let go.

Then an idea strikes her.

> **Riley:** You got a Sharpie?

Charlie thinks, grabbing his backpack at his feet to dig through the pockets. He retrieves one, handing it to her.

Riley pulls off the cap with a flourish, stepping forward. She scans the 2021 plank, finding a spot and using the Sharpie to create a new set of initials. _RM_ \-- right in the middle between _CG_ and the cluster of techie initials. A space left empty, as if it was just waiting for something new to come along and complete it.

Riley eyes the addition proudly, capping the Sharpie and passing it back to Charlie. Not a solution, but a symbolic gesture -- just as things can be so easily removed, they can be easily added, too. It doesn’t change that they’re both there. That they always will be.

She gives him a smile, which he half-heartedly returns. Charlie scoops up his backpack, slinging it over his shoulder. Riley throws an arm around his back and he drapes one over her shoulder, the two of them exiting the auditorium together.

**INT. AAA - BLACK BOX THEATER - DAY**

Zay swings by the black box as Harper is finishing cleaning up from their final class. He asks if she needs any help, but she waves him off. She’ll be here many more hours packing up the classroom -- he shouldn’t waste any of his final high school summer on her.

Zay explains why he wanted to stop by, letting her know that he got offered a role in the off-Broadway production. He’s officially portraying Riff for the next few months, and he wanted to thank her for all her support. Harper is ecstatic, exchanging a hug with him.

> **Zay: **I wouldn’t have gotten it if it weren’t for you. So thank you.
> 
> **Harper, touched: **… well, thank you. That’s very sweet. But I don’t know if that’s true.
> 
> **Zay: **You were the one who showed me the audition. I think that proves my point.

Harper thinks on it, thoughtful.

> **Harper: **If I’ve learned anything about this industry in the last decade or so, it’s that you can tell who the real stars are. Talent matters, undoubtedly, but it’s really in the way they shine day-to-day. Who goes the extra mile, who puts themselves out there, who goes _searching_ for opportunity rather than waiting for it to fall into their lap.

Zay listens attentively. It’s evident how much respect he holds for Harper, despite the uneven start she had coming into this year.

> **Harper:** Now I’m just a teacher, so my salary isn’t much to bet on, but I would put all of it on the line when I say you, Zay Babineaux, are one of those stars. _[ proudly ] _And I can’t wait to see everything that you accomplish.

Zay smiles, bashful in a way he rarely is. How strange and humbling and wonderful it is, to be seen. To be the favorite. To be appreciated for everything you have to offer.

He steps forward for another hug, Harper surprised at first but laughing as she returns it. When they pull apart, Zay wishes her a good summer and promises her a complimentary ticket to _West Side Story_ as soon as its up and running.

> **Harper:** Wouldn’t miss it for the world.

Zay grins, giving her one more nod as he heads out for the year. Harper watches him go with a smile, exhaling and sauntering to the front and center of the classroom. Her classroom, hard fought and won. She’s truly the Adams performance coach now, finally feeling confident and excited for what the next year holds.

**INT. CHUBBIE’S DINER - DAY**

It seems the next year might hold many new opportunities. A job application slides across the counter at Chubbie’s, LUCAS JAMES FRIAR giving the waitress working a thanks as she promises she’ll pass it on to the manager.

When he spins back around Dylan and Asher are there with him, congratulating him on taking the leap to apply. Still, Asher has his hesitations.

> **Asher: **Seriously, you don’t have to do this just because of me. I said you don’t have to pay me back.
> 
> **Lucas:** And I said I would, so I am. Besides, it’ll give me an excuse to be out of the house. I’m going to need the money anyway if I want to do anything this summer.
> 
> **Dylan:** That’s right. You’ve got a steady to treat now.
> 
> **Asher:** I doubt Riley is expecting much.
> 
> **Dylan:** We don’t know that. She could be a gold digger.
> 
> **Asher:** If she is, she’s been digging in the wrong place for about two years.
> 
> **Dylan:** That’s true. If she were a good gold digger, Farkle is right there.
> 
> **Lucas:** Please stop.
> 
> **Dylan:** Whatever. _I’m_ just excited for you to work here so we can get some _sick_ free grilled cheese!
> 
> **Lucas:** Yeah, that’s not gonna happen.
> 
> **Dylan:** I think it might happen.
> 
> **Lucas:** It’s not.

Dylan doesn’t argue further, but the way he smirks and narrows his eyes speaks for him. _I really think it might_. Lucas rolls his eyes, Asher changing the subject and asking about Isadora. Everything with Valerie has happened so fast, and all the sudden she has to head all the way across the country to deal with it.

> **Asher: **It’s a good thing you guys are going with her. I can’t imagine having to do something like that alone.
> 
> **Lucas: **She said you guys could come too, you know.

Dylan and Asher exchange a look.

> **Asher:** We know. But we also know it’s going to be overwhelming enough already. I don’t think adding more people is going to help.
> 
> **Dylan:** But we’ll be here when she comes back. She knows we’ve got her back -- that won’t change after she jumps coasts.

Lucas can acknowledge that truth. Asher and Dylan point out they’re glad he’s going though, considering his own mixed feelings about Valerie. He admits he still doesn’t know exactly how to feel about it, but it doesn’t really matter much anymore, does it? Either way, he would want to be there for Isadora.

> **Lucas:** After the shit friend I’ve been this year, I think it’s the least I could do. And I know she would do the same for me. Besides…_ [ looking at them ] _I know how important it is to have good friends looking out for you.

The weight of the statement goes without saying after everything they’ve been through this year. Asher glances to Dylan, then quickly moves to wrap Lucas in a tight hug. Finally breaking down the last remnants of tension between them and letting it dissolve away.

Lucas is surprised at first, but then he returns the embrace. Dylan watches, beaming.

> **Lucas, quietly:** Thanks, spaghetti.
> 
> **Asher:** _[ into his shoulder ] _Any time.

They pull apart, awkwardly smiling and patting one another’s shoulders. Once Asher steps back, Lucas looks to Dylan, rolling his eyes before opening his arms slightly and inviting another embrace. Dylan happily accepts it, giving him a bracing hug and patting him on the back.

Now that all that emotional baggage has been squared away, Lucas claims he better get going. They’ve got a lunch date he doesn’t want to interrupt, and he’s got to start packing. Asher tells him to have fun in LA, in spite of the dreary circumstances.

> **Dylan:** Take lots of pictures for us!
> 
> **Lucas, flatly:** Yeah, you know I’m not gonna do that.

Lucas nods them a goodbye and turns to go, only stopping when he actually gets to the door. He hesitates, glancing back over his shoulder towards them.

Asher and Dylan are still there behind him -- still having his back. Loyal lieutenants, despite everything else. Dylan raises a hand in casual salute.

Lucas smiles lightly. Then he pushes through the doors, heading back out into the city. Asher and Dylan watch him go, exchanging a look once he’s gone. Dylan grins and pats Asher’s shoulders, gently leading him further into the diner.

**INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT**

Farkle is also packing, sorting through his clothes and deciding what to bring to Los Angeles. There’s another pile going at his feet as he digs through his closet -- a box labeled “DONATE.” Filled with items that no longer fit and have been accumulating in his spacious closet, but also things that don’t feel much like him anymore. No longer matched to the person he’s become.

He pulls a blazer off the rack, pausing as he looks it over. It’s one of his notorious favorites -- from the pilot to his 207 pre-suicide resurgence. Definitely one of his statement pieces.

Farkle stares at it for a long moment, contemplating. There’s a moment where it seems as though he may drop it in the donation box… but he merely dusts it off and places it back on the rack. It no longer defines him, but that doesn’t mean he has to be rid of it completely.

He knows that part of him is still embedded within him, keeping him scrappy and ambitious. It’s simply better balanced now -- a _part_ of him, rather than his entire mask.

STUART MINKUS knocks lightly, stepping into the room and taking a look at his operation. He whistles, remarking he thought they had another year before this sort of change invaded their home. From the way he says it, although jokingly, it’s clear Stuart is not ready to think about the notion of Farkle leaving for longer than just a vacation.

Farkle assures him it’s only that, but he figured there was plenty of stuff he could afford to go through while he’s in the right headspace. He actually thinks they _all_ might -- this summer they should make a family effort to go through the house and donate things they don’t need. Stuart states that’s an excellent idea.

Farkle also thanks him for helping convince Jennifer to let him go on the trip to Los Angeles at all. Stuart shrugs, claiming the only reason they managed to make it work is because Eric will be along to chaperone.

> **Farkle:** Not that that’s a guarantee of effective management -- don’t tell mom I said that.
> 
> _[ Stuart mimes zipping his mouth and locking it. Then he smiles. ]_
> 
> **Stuart:** You know she’s just worried about you. Everything that happened this year --
> 
> **Farkle: **I know, I know. _[ tossing a shirt into his suitcase ] _I earned my extensive surveillance. I’m well aware.

Stuart takes the moment of heaviness to speak. He explains that he knows he hasn’t always been vocal about… their family has never been great at expressing themselves. In a board meeting, sure, but when it comes to the homefront… even so, Stuart wants Farkle to know how proud of him he is. He hasn’t been clear enough about it in the past, but he’s going to try now. He doesn’t ever want Farkle to think he doesn’t care.

> **Farkle:** I know. _[ a beat ]_ But thanks for saying it.

Farkle accepts the hug Stuart gives him, the two of them absorbing the moment. Then Stuart steps back, allowing him to get back to his packing. He tells Farkle to keep an ear out while in Los Angeles -- the best businessmen are those who seek opportunity at every moment. Farkle rolls his eyes, but he knows his father means well with his entrepreneurial guidance.

**INT. JACK’S APARTMENT - DAY**

Jack opens the door to his apartment, dressed more casually than we’ve ever seen him. Plain tee shirt, comfortable pair of jeans -- school’s out for the summer, and Jackson Hunter owes nothing to nobody.

Except, perhaps, Eric Matthews. That’s who he finds standing outside, holding a carton of cupcakes from a bakery that he claims is Jack’s favorite. Jack accepts the gift and gestures him inside, but he asks what the catch is as he takes the baked goods to the kitchen.

> **Eric: **Well, I know it’s been a tough year. Consider them… congratulatory cupcakes. For making it through a killer semester.
> 
> **Jack, skeptical: **Every semester is a killer semester at Adams.

Touché. Jack asks what’s really going on, why Eric is trying to bribe him. After beating around the bush for a minute longer, Eric relents and admits that he wants Jack to consider coming to Los Angeles with him and the kids. He wouldn’t have to worry about the expenses, as Valerie’s estate is putting them up to get Isadora out there.

> **Jack:** I don’t know. I hardly think Isadora needs more people jumping in on this experience. Especially one she didn’t think to invite.
> 
> **Eric: **Believe me, Isa is not thinking about that. And actually, it might ease her mind knowing there’s another responsible adult present. An authority figure to help keep things in line. Who better than the administrator of authority himself?
> 
> **Jack:** Not sure I deserve that title anymore. School board sure doesn’t think so.

Eric brushes the comment aside -- that’s drama for them to grapple with later. Right now, the focus is Valerie and Los Angeles, and right now, Eric really wants him to be there.

> **Eric: **It would help me._ [ sincere ]_ Please, Jack.

Jack sighs, leaning back against the counter and crossing his arms. He eyes Eric for a long moment, contemplating.

> **Jack: **Fine. But only to help you.

Eric grins, thanking him profusely. Jack tries to appear put out, but he can’t hold back the hint of a smile as he shakes his head.

**INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT**

Charlie, on the other hand, is not packing the night before departure to LA. He’s sitting at his desk, focused on typing something on his laptop.

When he hears someone approaching his room he frantically switches tabs, pulling up the website for Haverford. He acts as though he’s been reading that when ELEANOR GARDNER pokes her head in the room, asking how he’s feeling now that school is out for the summer.

> **Eleanor: **You haven’t started packing?_ [ a beat ] _We leave for Aggie’s day after tomorrow. Will you have enough time to get everything together?

Charlie assures her he’s got it under control. She smiles, glancing at his screen and seeing the Haverford website. She states she’s proud of him for taking the initiative to try something new, especially when it’s so daunting. Senior year, and everything… but she thinks this will be good for him. Adams wasn’t ever exactly his speed anyway, was it?

> **Eleanor:** I know it’s hard to leave what you know. But I think it’ll be great. Get you back on track a bit, you know? Reorient yourself.
> 
> **Charlie: **Totally.

Eleanor steps further inside, giving him a kiss on the top of the head. As she’s stepping back into the hall, she tosses another comment over her shoulder.

> **Eleanor: **Oh, I made an appointment with the hair cuttery. We’ll all go and get our summer cuts tomorrow before we head upstate.
> 
> **Charlie:** Sounds good. Get the door please?

Eleanor obliges, gently shutting his door behind her. Charlie waits a moment to make sure she’s gone, then he swaps back to his original tab.

It’s a social media site, and he’s in the midst of finishing up a private message. His fingers hover over the send key, nerves holding him back. In the corner of the screen, we can see the profile.

_Bridgette Gardner._

Charlie stares at the message he typed out, clenching his jaw… then he hits send. Definitively. Disrupting the familial embargo.

No turning back now.

**INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY**

Riley is finishing up packing the last of her things, zipping her suitcase. Maya’s stuff is waiting on her bed, making it clear both of them will be going with Isadora.

CORY MATTHEWS enters the room, claiming Maya is downstairs calling the car service.

> **Riley: **So you’re carrying her things, then?
> 
> **Cory: **Yeah, fascinating how she makes that work. The world is her personal assistant.

Riley laughs, lugging her bag off the bed. Cory takes the chance before she goes to let her know he’s so grateful that she’s not moving upstate. He heard her when she said she didn’t want to be in the middle of him and Topanga, and he’s going to do his best to honor that. He’s just happy she’s sticking with him for her last year at Adams.

Riley gives him a hug, assuring him that it was an easy choice. As they’re embracing, Riley delicately brings up Lucas and questions whether or not now is a good time to have _that_ difficult conversation -- that she’s now dating the school “delinquent.”

> **Cory: **Mm, no. Nope, not now. Go, quickly.

Riley laughs again, picking up her bag while Cory goes to grab Maya’s.

**EXT. ERIC’S APARTMENT BUILDING - DAY**

Lucas jogs his way up the stairs to Eric’s building, duffle bag on his shoulder.

**INT. ERIC’S APARTMENT - DAY**

Eric lets him in, Lucas asking if they’re all ready to go. Eric claims he is, he’s just getting the last of their travel documents together. He can go check in with Isadora, she’s back in her room.

Lucas nods, dropping his duffle on the couch and making his way back into the hall.

**INT. ERIC’S APARTMENT - ISADORA’S ROOM - DAY**

Lucas makes his way inside, ignoring the slight disaster area that is Isadora’s room. It’s clear she hasn’t put much effort into maintaining it -- understandable, given the circumstances.

ISADORA DE LA CRUZ is sitting on the small chest pushed in front of the window, looking out towards the city. Her hair is pulled up haphazardly out of her face, and she’s dressed in a dark sweatshirt despite the warm weather. She doesn’t look at Lucas as he comes in.

Her suitcase and backpack are all set on the bed, but she’s not wearing shoes and isn’t making any moves to get going. Lucas tells her they’re leaving soon, starting to dig through the debris to find her shoes. Does she know what pair she wants to wear? Did she already pack --

> **Isadora: **Don’t worry about it. _[ flatly ] _I’m not going.

Lucas pauses, eyeing her. His concern and surprise only last for a moment, before he rebuilds his aloof, relaxed facade and continues to search for her shoes. He could react to the bold declaration, try to reason with Isadora or give her treacly reassurances -- but that’s not how the two of them are. He knows how to talk to her, and sympathy isn’t what she needs. She’s gotten and will get plenty of that in the next few days.

So Lucas shrugs, claiming that’s fine. Eric can probably handle the legal affairs they’ll want her to sort out, and any of Valerie’s sympathetic friends will find a way to get their well wishes to her if they’re really determined.

Like clockwork, his nonchalance prompts Isadora to elaborate on her thinking -- why should she bother to go? What will she get out of it? The only reason she ever went to Los Angeles is no longer there. They’re going for Valerie, but they’re not _really_ going for Valerie. She’s not there, there’s nothing to go for. And she doesn’t feel like having a bunch of people she hardly knows tell her how much her mom loved her and what a wonderful amazing person she was. Doesn’t sound like fun. No thanks. What’s the point?

Lucas acknowledges that truth, and doesn't try to convince her that it’ll be different. It’ll probably be exactly like that. He manages to find her black Converse, picking them up and walking over to join her by the window.

> **Lucas: **The only thing you left out is the part where I’m there with you. And when it gets to be too much, or some really obnoxious Hollywood starlet is crying in your arms about how fantastic Valerie was, I’ll be there to pry her off you and accidentally spill funeral reception punch on her.
> 
> **Isadora:** Don’t think that would make a very favorable impression.
> 
> **Lucas:** It’s fine -- I think I’ve realized my career in show business is a shot in the dark. Unfortunate, I know.
> 
> **Isadora:** I don’t know what the world will do without you.
> 
> **Lucas:** Think they’ll manage. There’s plenty of grumpy white boys to cover for me.

He holds out the shoes for her, giving her the choice on whether or not to take them.

> **Lucas:** But you don’t have to. You’ve got me, and all the other misfit pals you’ve collected this year. Seriously, your taste in friends is baffling.

Isadora glares at him… and then cracks the ghost of a smile. She takes the shoes begrudgingly, starting to pull them on.

**EXT. AIRLINER - DAY**

A cross-country flight takes off across the sky, a pilot pleasantly explaining their cruising altitude and expected arrival time.

**INT. AIRLINER - COACH - DAY**

In one row of seats, Isadora is slouched between Riley and Lucas. She’s obviously not in the mood to talk, gritting her teeth and twisting her headphones around her fingers while Riley and Lucas attempt to carry on a quiet conversation over her head. She gets fed up relatively quick, patience wafer thin due to everything else she’s processing at the moment.

> **Isadora:** Oh my God, enough! _[ to Riley ] _Switch with me.
> 
> **Riley: **What?
> 
> **Isadora: **Switch with me. I don’t want to listen to you both romance over me for six hours straight.
> 
> **Lucas:** … we weren’t even --
> 
> **Riley: **Um, I mean, if that’s what you want --

Riley raises her hands in surrender, the two of them pulling off a tight exchange as Isadora plops into the window seat and Riley takes the middle. Isadora buckles her seatbelt and curls up as small as possible, putting her headphones back on. Riley looks to Lucas uncertainly, the latter shrugging. Best not to push it further.

Meanwhile, Maya is in a mood of her own, obviously disgruntled at being stuck in the middle seat between Farkle and Zay. She’s taking up about half their space as well, lounging dramatically and grumbling.

> **Maya:** This is disturbed. What capital crime did I commit to be given the middle seat?
> 
> **Farkle: **You’re kidding, right?
> 
> **Maya: **Why would I jest about my pain, Farkle Xavier Minkus?
> 
> **Farkle: **You’re taking up three-quarters of the row!
> 
> **Zay: **_[ crammed against the window ] _Doing this for Isa, doing it for Isa…

Maya lets out a grand sigh, tilting her head back.

> **Maya:** It’s bullshit. We’re stuck back here, yet Jack and Eric --

**INT. AIRLINER - FIRST CLASS - DAY**

Yet Jack and Eric are enjoying first class, reclined comfortably in their roomy seats. Champagne sits on their tray table, Eric less sure than Jack. He wonders if they deserve to be splurging.

> **Jack, nonchalant: **You brought me on this trip to help you. I’m just doing what you requested, making this as non-stressful as possible.

He picks up his champagne glass, grabbing Eric’s and putting it into his hand. He raises it indicatively.

> **Jack: **To no stress.
> 
> **Eric:** Ha ha ha.

Oh, how the tables have turned. Jack and Eric clink their glasses together.

**EXT. AIRLINER - DAY**

The flight descends upon the sunny city of Los Angeles.

**INT. LOS ANGELES INT’L AIRPORT - DAY**

Their flight deplanes, Jack and Eric waiting for the kiddos to emerge. Maya is the first to step out, starry-eyed already. Zay wanders towards the window, glancing out towards the palm trees. It’s always about the palm trees when you first land in LA.

> **Zay:** Y’all, check it --

The others come to join him. They stare out at the world of Los Angeles waiting for them, mixed expressions on their faces. Isadora looks least enthused, having seen it all before.

A smile spreads across Maya’s face.

* * *

**Song Cue ♫ ♪ “Party in the U.S.A.” as performed by _Pitch Perfect _Cast || Performed by Maya Hart, Riley Matthews, Zay Babineaux, Farkle Minkus, and Eric Matthews**

Maya kicks off the impromptu number, delighting in the truth of _“I hopped off the plane at LAX…”_ She spins and starts wandering towards the exit, Riley following behind her and joining in. It doesn’t take long for Farkle and Zay to join in on the harmony.

Jack clasps his hands together, clearing his throat. Lucas stands next to him, tilting his head back in resignation and rolling his eyes.

> **Jack:** Okay, we’re in a public place. Maybe let’s not…

Too late, Jackie! The performers are off and running, and there’s no stopping them now. The shenanigans do seem to give a sense of normalcy to Isadora, so Eric happily jumps in on the harmonies with them. The group of them dance their way through the LAX concourse, Riley taking Lucas’s hand and dragging him along with them.

They step out the doors and into the crazy traffic, Maya still front and center as she concludes the number with a grin. Great way to uplift the spirits in one of the worst airports in the world!

* * *

**EXT. BEVERLY HILLS HOTEL - DAY**

The exterior of the famous and glamorous Beverly Hills Hotel. Valet guides cars through the driveway, guests and tourists alike coming and going through the doors.

**INT. BEVERLY HILLS HOTEL - LOBBY - DAY**

The crew heads into the spacious lobby, Eric and Isadora approaching the front desk to check-in. Maya rattles off diva nerd facts about the historic hotel. Lucas tries to make himself smaller, feeling wholly out of place and certain he’s going to accidentally break something.

Eric and Isadora chat with the desk attendant, confirming their complimentary rooms on behalf of Valerie’s people and the hotel. Eric states that if it’s too much trouble they can find other accommodations, but the attendant assures them they’re happy to host them. Valerie was a dear loyal guest of the hotel, so they’re more than happy to help her daughter while she’s here.

Well, good enough for them. The keys slide across the counter.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

If you’ve never seen a suite in the Beverly Hills Hotel, it’s worth a Google search. These rooms are _nice_, a glamorous king size bed boasting maximum comfort while a lounge chaise bookends it. Lucas tentatively drops his backpack on the bed, still feeling out of place.

The other boys get a look around, Zay commenting on how sleek the place is. Farkle doesn’t seem all that impressed, comparing it to some upscale hotel in New York that his family stays at often. Zay and Lucas exchange a look, rolling their eyes.

Farkle brings up the obvious question, wondering which one of them is going to get stuck on the chaise. Zay and Lucas lock eyes again, looking in Farkle’s direction pointedly.

> **Farkle: **What? Are you serious?_ [ to Zay ] _Lucas over me?
> 
> **Zay, with a shrug:** I’ve made choices.

Farkle scowls, dropping his bag on the chaise.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

Maya throws back the curtains of their room, taking in the view with a sigh and letting in the notorious LA sunshine. She’s already listing all of the things they have to do and try in their short time in the city of stars, but Riley delicately reminds her that they’re not just here to explore and go nuts.

There’s an awkward pause, the girls glancing towards Isadora. She waves them off, claiming Maya’s attitude is fine. That _should_ be what this trip is about -- she’d rather it be about their first adventure in LA than the actual reason they’re there.

Maya flops onto the bed, reveling in the luxury. Don’t have to tell her twice, Izzy.

**INT. BEVERLY HILLS HOTEL - ROOM C - DAY**

Jack and Eric are settling into their room, Jack unpacking his things on his bed. The two of them discuss the rooming situation they’ve set up, acknowledging that there really wasn’t a good way to sort that group of kiddos.

> **Jack: **Do you think they’ll stick to our assignments?
> 
> **Eric:** I’ll be honest, I don’t think they’re going to listen to a word I say this entire trip.

Maybe so, Eric. Maybe so. Jack gives him a bracing pat on the shoulder.

**INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT**

The clock on the side table reads 11PM, but the girls are already out for the night after a long day of travel and lots going on in the morning. Riley is curled up on the chaise and fast asleep, Maya unceremoniously sprawled across two-thirds of the bed and also out like a light.

Isadora is awake, turned towards the clock and watching it tick later and later. There’s no way she’s going to sleep -- way too much buzzing in her head to process. She pushes herself out of bed, tip-toeing towards the door.

**EXT. BEVERLY HILLS HOTEL - POOL - NIGHT**

Isadora has taken to wandering the hotel, hoping it’ll clear her head. No dice -- she can feel herself growing more and more overwhelmed. If she can’t even make it through half a day, how is she going to survive this trip?

She approaches the edge of the pool, cast in a blue glow from the reflection of the water. She takes a deep breath, closing her eyes and trying to center herself.

After a moment, she decisively pulls up her phone and dials a number. The only source of comfort who doesn’t happen to be there with her. She paces along the pool side as she waits for them to pick up, chewing on her lip.

**INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT**

Isadora’s pacing is intercut with Asher’s room, switching back and forth between the two. A phone buzzes on the nightstand, ringing with Isadora’s call. Dylan rouses awake, clumsily reaching for the phone.

> **Dylan, half-asleep: **Hello?
> 
> **Isadora: **Dylan? Can you talk?

Dylan agrees, pushing himself onto his elbow. Asher startles awake next to him, asking what’s going on. Isadora is surprised to hear his voice.

> **Isadora:** Is Asher there too? What are you all doing so late?
> 
> **Dylan: **Dor, it’s like… two in the morning here.

Oh. Duh. Dylan and Asher practically live together -- of _course_ Asher would be there, because they’re asleep. Isadora curses, apologizing profusely for waking them up.

> **Isadora:** Shit, I’m sorry. I didn’t even think --
> 
> **Dylan:** S’all good. Give me one second…

Dylan gently extricates himself from Asher’s hold, the latter already drifting back to sleep. Dylan tip-toes to the closet and shuts himself inside, explaining that he didn’t want to keep Asher up, but he can talk for a little bit.

> **Isadora: **In the closet?
> 
> **Dylan: **Sure. I never spent much time in here anyway, so.

Hardy har har. Isadora can’t help but smile, Dylan already brightening her mood. The exact reason she called him in the first place.

**INT. BEVERLY HILLS HOTEL - ROOM B - NIGHT**

Lucas and Zay are both asleep, but Farkle is tossing and turning on the chaise. It may have been a bit cruel to relegate him to it, considering his legs are dangling off the edge. He huffs and sits up, deciding he will not be falling asleep any time soon.

**INT. BEVERLY HILLS HOTEL - NIGHT**

Farkle opts to explore as well, giving us an exquisite montage of the interior of the illustrious space. He takes his time getting a good look around, absorbing the historic elegance.

**EXT. BEVERLY HILLS HOTEL - NIGHT**

Farkle emerges out towards the pool, hesitating when he hears Isadora’s voice. He backs up out of sight and peers around the pillar he’s hiding behind, eavesdropping.

Isadora continues to pace the length of the pool, explaining to Dylan how there’s so many emotions she’s trying to process being here that it’s like it’s all blocked. She doesn’t even know where to start. She wants to be excited about being in LA with her friends who have never been, but the reason is so unpleasant. She hasn’t even begun to actually _cope_ with why they’re there, and she knows it’s going to be brutal when it actually hits her. She’s surrounded by friends, and yet she still feels distinctly alone.

Dylan can’t exactly speak to that feeling considering he was so young when he lost his mom, but he reminds Isadora that whatever she’s grappling with is valid. And even if it feels like she is, she’s definitely not alone -- all of those people wouldn’t have gone out there with her if she was. And he’s there in spirit too, even if he’s not there physically.

Farkle absorbs Isadora’s side of the conversation, taking in her confusion and stress. He’s contemplative, really thinking on what his purpose for being there is and why Isadora invited him to come at all. He’s there to support her, extend the same stability she tried to offer him when he was at a low point.

Now, he just has to figure out how to go about that. Time to put that genius mind to work…

**INT. LAW FIRM - DAY**

The next morning, Isadora and Eric sit in the dreary waiting room of a law firm. The building is bland in comparison to the beautiful locations of LA we’ve seen so far. Isadora sits with a blank expression, but next to her Eric’s leg bounces up and down, eyes flitting from person to person as they walk by.

Stilettos click on the floor, a woman in a blouse and pencil skirt approaching the pair with a sympathetic smile. She certainly looks kinder than other lawyers we’ve come to know and dislike. After she introduces herself as Valerie’s estate manager, THERESA, she guides Isadora and Eric into her office.

**INT. LAW FIRM - THERESA’S OFFICE - DAY**

Theresa explains what arrangements have been made for Valerie’s funeral, along with what the process of the will will look like. Eric asks questions here and there, but Isadora stays blank, nodding along when necessary.

> **Theresa: **I understand that you’ll be very busy over the next couple of days, but if you could set some time aside to look through Miss De La Cruz’s belongings on her estate and decide if you’d like to keep anything for yourself, that would be great.
> 
> **Isadora: **Oh, no, I don’t… no, that’s okay. I’m fine.

Eric frowns but presses his lips together, choosing not to comment. It’s not his place, not now.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

Back at the hotel, Lucas and Zay are discussing the fancy accommodations as they finish getting ready. It’s actually a nice bonding moment between the two of them, expressing how the glamor of the hotel doesn’t feel like it fits them. Zay isn’t financially as strained as Lucas, but he’s always had trouble associating himself with anything exuberant.

Maya, on the other hand, is thriving. She throws open the door connecting their two rooms and saunters in, throwing her arms out wide and declaring how amazing it is that they’re here and in Los Angeles -- getting the star treatment they deserve. Lucas rolls his eyes.

> **Lucas: **You don’t take a day off, do you?
> 
> **Maya:** I’m an opportunist. Do you know what that means, Gothic Butch Cassidy?
> 
> **Lucas: **Your friend’s mom is dead. You remember that, right?
> 
> **Zay: **Nah, Maya is right. I mean, she’s fucking insane --
> 
> **Maya: **So sweet.
> 
> **Zay: **But she’s right. We’re in _LA_. We should be taking advantage of it while we’re here, in spite of the tragedy.
> 
> **Maya: **Especially because Izzy literally told us to. If she doesn’t want us harping on Val any more than necessary, I’m gonna respect that.
> 
> **Lucas, deadpan:** I’m sure that’s so challenging for you.

Riley interrupts their bickering, entering with Farkle and carrying bubble teas (Boba, an LA trend) for them to try. As they hand them out, Riley agrees with both points. They should try to enjoy their first visit to Los Angeles, but they do need to remember why they’re here. Isadora doesn’t want it to be a big deal, but it still matters. They need to make sure that above all else, regardless of whatever else they do, the priority is her.

The group nods along, half-distracted by the bubble tea. Their reactions to the drink are somewhat humorous, especially Lucas, who just looks confused as he drinks it.

As if on cue, Isadora returns from the estate meeting and finds them grouped in the other room. Farkle hands her the last bubble tea, which she takes but doesn’t drink. Riley pretends as though they weren’t just talking about her, asking her what she thinks she wants to do today.

Isadora is already exhausted, physically and emotionally. She claims she doesn’t feel like doing anything but resting. Maya fails to hide her disappointment, making Isadora brush them off.

> **Isadora:** No, look, you all should go out. Do not let me… be a thing. I’ll be fine, go explore. Have fun.
> 
> **Zay:** Are you sure?
> 
> **Isadora: **I wouldn’t say it if I wasn’t.

Isadora retreats. Riley searches for a compromise, leading the charge after her.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

Riley catches up with Isadora, stating that they can split up. The others can go out, while she and Lucas hang around here with Isadora. They would love to just chill with her.

> **Riley, pointedly: **Right, Lucas?
> 
> **Lucas: **Uh, yeah. Yeah, that’s cool.

Already acting like a married couple, it seems. Farkle and Zay exchange amused looks. Maya assures Isadora that she’ll fill her in on everything when they come back.

Then she takes Zay and Farkle’s arms, eyes already twinkling with adventure.

> **Zay: **So… what, then?
> 
> **Maya:** Don’t fret, Babineaux. I have _lots_ of ideas.

**EXT. LOS ANGELES - DAY**

* * *

**Song Cue ♫ ♪ “I Love LA” as performed by Randy Newman || Instrumental**

Randy Newman sets the scene as we get our quintessential montage of exploring LA. The divas are at full enthusiasm as they make their way throughout iconic Los Angeles spots. We’re talking sunglasses on, selfies abound, three star performers in the city that might very well be home to them someday. Good, fun times only!

* * *

**EXT. PERSHING SQUARE - DAY**

Maya, Zay, and Farkle are in Pershing Square, having covered the tourist spots and now exploring downtown Los Angeles. Maya and Zay are still energized, but Farkle seems to be tiring as he settles in the shade by one of the fountains. He’s lost in his own head when Maya turns on him, asking his opinion on which landmark they should visit next.

Farkle admittedly wasn’t listening, so he isn’t much help. He comments that Zay and Maya should go on and do whatever they want, he’s probably going to take a minute to rest. Maya asks if he’s okay, Farkle assuring her he is. They shouldn’t wait up for him.

> **Maya: **I mean… you know, your mother would kill me if she knew I left you alone.
> 
> **Zay: **Yeah, you’re not going to like… I mean…
> 
> **Farkle: **Believe me, Isaiah, if I were planning to off myself again, downtown Los Angeles would not be my venue of choice.

Well, guess they’ll have to take his word. Maya tells him to text her when he catches up. Farkle watches them go, exhaling and reclining back on the edge of the fountain. He’s more easily exhausted than he used to be, and he knows he doesn’t have anyone to blame but himself.

He stares up at the cloudless LA sky. Sunny, blue, miles away from the overcast Manhattan.

Farkle pushes himself back into a sitting position. Walking might do him some good, but at his own pace. He starts heading down the block, poking around for himself.

**EXT. LOS ANGELES THEATRE - DAY**

Farkle comes across the Los Angeles Theatre, a historic performing arts theater. He stares up at the elegant signage, some of that sparkle coming back into his eyes.

**INT. LOS ANGELES THEATRE - DAY**

There are other folks milling about in the lobby of the gorgeous theater, so Farkle does his best to skate under the radar. His former power of being invisible comes in handy, allowing him to get a good look around without trouble. When he spots a door to backstage propped open for maintenance, he freezes.

> **Farkle: **No way...

It’s too good to be true. It’s like a television show. He can’t. He shouldn’t…

Moments later, Farkle slips through the open door and disappears into the theater.

**INT. LOS ANGELES THEATRE - STAGE - DAY**

Farkle’s shoes tread cautiously as he eases out from the wings and onto the stage, eyes wide as he takes in the grand house auditorium in front of him. This is another level beyond Triple A -- he feels dwarfed on the stage, a starry-eyed hopeful suddenly amongst the big leagues.

He stands front and center, taking a deep breath. When is he ever going to have an experience like this again… and no one is around… what would Rachel Berry do…

* * *

**Song Cue ♫ ♪ “Man About Town” as performed by Young Frankenstein Original Broadway Cast || Performed by Farkle Minkus (starting at 00:32)**

The performance is entirely a capella, and timid to start. Farkle sings the verses slowly, throwing us back to his first ever performance in _AMBITION_ \-- from a feral, spiraling sophomore ready to kill for the spotlight on the AAA stage to back from the dead and standing on the cusp of a whole new world. It’s pointed how much change he’s endured since that first introduction, how much we’ve come to understand about him and what he’s come to learn on his own.

Despite his nerves, Farkle is a natural, and it’s not long before he’s fully into it. He spins and paces along the front of the stage, milking the faux moment of starlight.

He throws his arms out and belts out the last a capella note, throwing his head back and basking in the glow. He exhales, smile bright on his face.

> **Attendant: **Hey!

* * *

Farkle’s bravado crumbles immediately. He jumps violently and curses, squinting towards the house like a deer in headlights. A THEATER ATTENDANT is standing in the back, asking him how the hell he got in and what he thinks he’s doing. Farkle apologizes profusely, launching into a frenzied explanation.

> **Farkle:** I was just -- I saw that the door was open, and -- what you need to know about me is that I’m a performer. It’s in my blood. So I see an opportunity, I need to… there’s a whole other layer, too. See, earlier this year I tried to kill myself -- long story --

Long story or short, the attendant isn’t interested. He tells Farkle to scram and he starts to obey, when another voice disrupts the fray.

An esteemed-looking gentleman steps in through the house doors, asking again who Farkle thinks he is. Although Farkle stammers over his own introduction, the man’s is effortless and intimidating -- this is JONATHAN TURNER, a talent agent and producer. He looks at Farkle with reserved intrigue.

> **Turner: **You sing like that all the time? Or just on a good day?
> 
> **Farkle:** … I don’t deliver anything less than excellence, sir.

There’s a bold promise. But Farkle is a Minkus -- he’s been trained for business since he could talk. Turner explains that he’s currently working on a production of _Pippin_, and they’ve been searching for some fresh, young talent. If he can sing like that again in front of their creative team, they might have more to discuss.

So this is really how it happens out here in the city of angels, huh? Turner approaches the stage and jots down information on a scrap of paper from his pocket, passing it to Farkle. If he can come back tomorrow at that time, killer performance in tow…

> **Attendant: **Unbelievable…

Unbelievable, indeed. Farkle stares at the information in his hands, Turner giving him an offhand goodbye as he saunters back out just as casually as he entered.

> **Riley, pre-lap: **It’s like we’ve forgotten what this trip is about.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

Riley is pacing the floor of the boys room, although from the way all of their things are starting to disperse throughout both rooms, Eric was probably right that their set arrangements won’t last long. Lucas listens to her from his chair by the window, originally looking out towards Beverly Hills but now taking in an entirely different view.

> **Riley: **And I get it, I mean, I do. It’s amazing that we’re out here, especially since most of us have never even been here before. But… Isadora invited us to come along because she needed support. And it’s like we’re not even doing that.
> 
> **Lucas: **Kind of hard to when she won’t let us.
> 
> **Riley: **I don’t know. I just think… I can’t imagine. _[ shaking her head ] _I can’t imagine grappling with what she is right now.

Lucas frowns. It seems like he wants to reassure her, but he doesn’t have the words. So he tries for action instead, closing the space between them and coming to stand with her.

His touch is tentative but intentional, gently placing a hand on her shoulder. Crazy how things change, how they can do this now -- how they’re still Riley and Lucas, but they’re something else now too. And it’ll take some getting used to, but it’s evident he intends to try.

Riley glances at him, offering a weak smile. She takes his hand in her own, linking their fingers together between them. The moment lingers, uncertain and new but more than welcome.

It’s interrupted by Isadora reentering the other room, the door to the hall shutting behind her. Lucas disconnects their hands as Riley leads the way into the other room to greet her.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

Riley asks her how lunch with Eric went, as he made sure that Isadora got some food in her after an exhausting morning. She claims it was fine, and when Lucas asks her for details on how the meeting with the estate manager went, she dodges the question. Not too much to report, in her opinion. She needs to keep her mental facilities up for tomorrow more than anything else.

Ah, yes. Tomorrow. The funeral. Riley and Lucas exchange a look, the latter questioning if Isadora is feeling prepared for that. She states no -- how could she be -- but she’ll deal. And she hates the way they’re acting around her, like they’re walking on eggshells.

> **Isadora: **You don’t have to treat me like a house of cards. I’m not going to keel over if you breathe too hard.
> 
> **Riley:** That’s not it. I think we’re just --
> 
> **Lucas: **You know we don’t think that.
> 
> **Isadora: **Maybe, but your actions say otherwise. _[ to Lucas ]_ You and I have never been soft with one another. Not in this kind of way, where you’re so obviously tip-toeing around me. I’m sorry if I’m being unpredictable --
> 
> **Riley: **You don’t have to apologize.
> 
> **Isadora: **But I just want things to feel normal, alright? Like, if my best friends could just treat me like they always do, then maybe the absence wouldn’t be so pronounced. If everything else could stay the same, then a major change wouldn’t feel so earth-shattering. So can we just… I don’t know, can we just stop? I already feel bad that you’re giving up your time in Los Angeles to sit around and pity me, I don’t need to hear it in your voice, too.

Isadora settles down on the bed, rubbing her face. Riley hesitates before stepping forward and joining her on the bed. She acknowledges Isadora’s points about their behavior -- which they’ll try to rein in -- but she shouldn’t feel bad about their choice to stay with her. That’s not what they’re there for.

> **Riley:** Ever since I came to Triple A, you have been in my corner. You guys were my people, even in moments where things fell apart. So it’s not a chore for me to be here with you, Dora. As long as you want me here, that’s where I’m going to be.

Lucas nods along, in total agreement. Isadora lifts her gaze to look at them, landing on Lucas.

> **Lucas:** You know where we stand.

That she does. They may have stumbled this past year, but the three of them are a team. It’s never going to be too much to ask that they stand by each other.

* * *

**Song Cue ♫ ♪ “You’ve Got A Friend” as performed by Carole King || Performed by Riley Matthews**

Riley delivers the sentiment through this gentle ode to friendship, reiterating the point that she will always have Isadora’s back -- all she has to do is ask. Lucas saunters over to sit down with them after the first verse, he and Riley supporting her from either side although they know her well enough to respect her personal space.

Although Isadora isn’t fully convinced, the solidarity is sincere, and she clearly appreciates it. We hold on the three of them for a moment more… how far this trio has come in two years…

* * *

**INT. BEVERLY HILLS HOTEL - ROOM B - NIGHT**

As expected, the room arrangements have been completed mixed up. Riley has swapped space with Farkle, sleeping peacefully with Lucas and Zay on either side of her. Although quite impressively taking up as little space as possible -- almost like he has practice -- Lucas stretches out an arm that covers Riley’s face. She grumbles and turns over, inadvertently shoving Zay so that his legs dangle off the edge of the bed.

**INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT**

Farkle is curled up on the chaise, tired enough to actually make sleep there work. Maya is in bed with an eye mask tangled up in her hair rather than on her face. It’s not the prettiest of sights.

A thud from the other side of the wall and Zay’s quiet yelp does nothing to stir Farkle, but Maya sits up in confusion. Looking around, she discovers that the other half of the bed is empty.

Maya climbs out of bed with a yawn, sliding into a pair of hotel slippers. She checks her phone for the time and sends a quick text to Isadora before setting out to search.

**EXT. BEVERLY HILLS HOTEL - POLO LOUNGE PATIO - NIGHT**

Maya can’t help but take in the beauty of each spot she searches, the hotel taking on an ethereal vibe in the moonlight. The Polo Lounge looks particularly stunning, decorated with a multitude of flowers, stars shining down on the patio. Isadora sits on a step looking up at said stars, not noticing Maya until she’s standing next to her.

> **Maya: **Can’t sleep?

Isadora shakes her head. Maya nods towards the table behind them, where an unlighted candle and small vase of fuchsia flowers sit ready for the morning.

For a moment, they sit in silence. Then, Isadora tentatively apologises. Confused, Maya questions what she’s sorry for.

> **Isadora: **Valerie made a promise to you and your mom, and she broke it. Now your plans are ruined. I’d be mad if I were you, so I thought...
> 
> **Maya:** Izzy, I’m not mad. At you or Val._ [ a beat ] _I mean, I’m upset. I lost a mentor, my lifelong role model. But you lost your mom, however much of one she was. I can’t even…

Maya can’t wrap her head around it. She shakes her head wordlessly.

> **Maya:** You don’t need to be worrying about me being mad at you, or our friendship being ruined, or anything like that. After everything we’ve survived this year, this is not going to be the thing that tears us apart.

Isadora manages a weak smile. On reflex, Maya leans forwards as if to hug her, but catches herself in time. 

> **Isadora: **I think... a hug is okay right now.

Well, that’s a surprise. She opens her arms but Isadora tenses and shakes her head rapidly. Maya leans back, eyebrows raised in amusement. 

> **Isadora:** Maybe you could... rest your head on my shoulder. For like half a minute.

If that’s all she’s going to get, she’ll take it. Maya shuffles her chair closer before putting her head on Isadora’s shoulder. She tenses, but relaxes after a moment, resting her head on Maya’s.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

It’s funeral day, and the mood is gentle amongst Isadora’s posse. They’re all getting ready, Farkle slipping past Riley through the door between rooms in a suit and tie combination. She gives him a smile, dressed in a simple black dress with three-quarter sleeves and a flare skirt.

Her smile widens when she sees Lucas, dressed about as nicely as he was for the Jacobs Gala only with a more demure color palette. He’s struggling to loop a tie around his neck, not at all familiar with the common formal item. Riley approaches, coming to stand in front of him.

> **Riley:** Having trouble?
> 
> **Lucas, sheepishly: **Believe it or not, I’ve never had much of a need for these.
> 
> **Riley:** You, fashion extraordinaire? I can’t believe it. _[ with a smile ] _Here.

Riley takes over, gently tying it for him. The moment is quiet between them, Riley finishing the knot and smoothing the neck of the tie along his torso. It’s only then that they really recognize how close they’re situated, how different their dynamic is now that allows for, even _encourages_, this proximity.

It’s a strange thing to be figuring out in the midst of something so tragic. Lucas murmurs a thanks, keeping his eyes on their feet. Riley examines him, not sure how to navigate the situation either. She knows how the exchange _should_ feel, how she wants them to be, but the circumstances complicate things. Not to mention everything they’re carrying from the past…

> **Riley:** Lucas… you know that --

Lucas lifts his gaze to look at her just as they’re interrupted, Jack knocking lightly and stepping into the room. He asks how things are going and if they’re nearly ready to leave. Riley and Lucas step away from one another, Riley exhaling a laugh.

> **Riley: **Crisis averted in here. The others should be basically ready, I think.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

Maya is finishing up styling herself at the vanity, calling over Isadora to take a seat. She doesn’t need too much done with her hair, so Maya focuses on doing some light makeup. Isadora is in a pantsuit, and Maya brings the glamour that Valerie so loved with a black sparkly dress.

Behind them, Riley shuffles in and rummages through Isadora’s suitcase to look for something in particular. She produces a delicate silver necklace with a star hanging from it in victory. It’s one we’ve seen before, as part of Isadora’s star-themed prom outfit. Isadora notices it in the mirror and Riley smiles.

> **Riley: **I thought you might want to wear something connected to your mom, so... I got Lucas to sneak it in while you were packing. _[ nervously ]_ Did I overstep?
> 
> Isadora: No, it’s fine._ [ a beat ] _I guess a necklace would look nice.

As Riley lights up and brings the necklace over, Maya questions how it’s connected to Valerie. In a quiet voice, Isadora explains that she gave it to her on prom night to go with the dress. When she has the necklace, she turns the star over to reveal an engraving:

_“To my star. Love, Mom.”_

Riley tears up, Maya clearing her throat. But Isadora remains blank. She passes it back to Riley so that she can help secure it around her neck.

Zay knocks lightly, poking his head in between the rooms. Maya takes over the vanity to double check her appearance, so Isadora moves over towards him.

> **Zay:** How you holding up? We’re basically good.
> 
> **Isadora: **Well, I’m ready. Don’t know about those two.

Maya and Riley assure the pair that they’re ready. Pretty much. Almost. Just hang on one more second. Zay sighs before offering his arm in the same mock gentlemanly support that he did at the Artists of Color Mixer.

> **Zay:** Ready?

Isadora playfully rolls her eyes, relieved at the lack of heavy tension that she’s felt with everyone else so far today. She takes his arm gently, then changes her mind and takes his wrist instead. He gives her a small, reassuring smile, the two of them heading out.

**EXT. FUNERAL SERVICE - DAY**

Isadora’s crew arrive at the venue where the funeral is being held, a pleasant, unassuming funeral home in the heart of Valerie’s neighborhood when she was growing up. In the back is a lush, spacious outdoor space where the reception will be held in conjunction with the foyer.

Isadora leads the group, the six of them coming to stand in front of the steps to the parlor in their black tie best. She swallows, marching up the steps without comment.

**INT. FUNERAL SERVICE - PARLOR - DAY**

The interior of the space is beautiful and intricate, adding a semblance of Valerie’s unmistakable glamor to the whole affair. Even in death, her presence is palpable. Theresa rushes up to greet Isadora as she enters, asking how she’s feeling and introducing herself to the group.

She starts to explain the details of how the funeral will proceed. When she mentions Isadora standing up by the casket to meet with guests, her eye is drawn to the closed casket up in the front of the room. Suddenly, Isadora is gripped with panic, imagining her mother unmoving and unseeing in the coffin. It’s plain from the look on her face how disturbing that visual is to her, matched against the living memory of Valerie who always seemed particularly alive.

Theresa quickly assuages her concerns, clarifying that the casket is empty. Valerie has been cremated as per her wishes in her living will. That’s something for them to discuss later, as Valerie did have specific desires about what might be done with her remains when the time came -- although they were all expecting that to be much later. But Isadora doesn’t need to worry about that right now. For now, she just needs to take it one day at a time.

Isadora steps past Theresa, making her way down the aisle between pews to the front of the room. She eyes the empty casket, expression blank… then, her gaze drifts to the large wreathed photo of Valerie on display. It’s the first she’s seen of her mother since she heard the news, and even the photo on display doesn't feel like her. It’s caught between her star persona and the Valerie Isadora knew -- hard to say which version is being mourned this afternoon.

Isadora swallows, unable to tear her eyes away from the photo. As Maya’s uncharacteristically delicate mezzo floats in…

* * *

**Song Cue ♫ ♪ “Fly Away” as performed by Poe || Performed by Maya Hart (up to 3:40)**

Maya’s slated performance as an homage to Valerie acts as the backdrop for a montage of the funeral, taking us through each step of the ceremony. A priest and former friend of Valerie’s leads most of the speaking, our crew and dozens of other guests listening in the pews. Riley wipes tears as subtly as she can manage.

Isadora shakes hands with mourners young and old, famous and plain, and accepts their condolences. Although she manages a smile now and then, the experience is obviously uncomfortable for her. So many people her mom inspired and touched, yet she doesn’t know any of them. It’s a separate world, one that the two of them never bridged.

Maya’s solo is one of the most grounded renditions she’s ever delivered, nothing glitzy or distracting about it. It’s also the most emotive she’s been this entire time, her defenses coming down and eyes glossy as she performs. It’s an honor to be performing at the goodbye of one of your most idolized heroes -- but she’d rather there be no reason for it. A bittersweet sensation, and the crack in her facade that shows just how much she’s hurting over the loss as well.

As the final piano and woodwind takes us out, the ceremony transitions to the reception…

* * *

**EXT. FUNERAL SERVICE - RECEPTION - DAY**

Guests are milling about in the gorgeous outdoor gardens, enjoying one another’s company and observing the displays to Valerie’s life that have been set up all throughout the lawn.

Isadora stands on her own amongst the guests, an untouched drink in hand. She watches the people around her, many household names. Some go to approach her, but with the way her arms are wrapped around herself and the hint of a glare on her face, they leave her alone.

Jack, however, isn’t deterred. He saunters up to join her, acting nonchalant.

> **Jack:** How are you doing?
> 
> **Isadora:** I don’t know a fucking thing about any of these people. 

Ignoring the foul language, Jack listens as Isadora goes on to say that her mom inhabited a whole world that she knows nothing about. Valerie was going to give it all up to move to New York and live with Isadora… but she couldn’t follow through. Yet again. The anger and spite are clear in her words -- not the most conventional of emotions at a wake, but just as valid.

Unsure how to respond, Jack provides Isadora with an awkward “there, there” pat on the shoulder. Isadora frowns at him, and they fall into an uncomfortable silence.

Meanwhile, Maya is fielding compliments from other mourners on her performance. Farkle stands by her, the two of them conversing in between interruptions from other guests. They’re offhandedly discussing both of their interactions with Isadora in the last couple of days, wondering if there’s more they could be doing to help her.

> **Maya: **Look, I know Friar thinks I’m a sociopath --
> 
> **Mourner, interrupting:** Lovely performance, darling. She would have loved it.
> 
> **Maya, brightly: **Oh, thank you so much. _[ back to casual ]_ But I stand by my stance that normalcy is what Isadora wants. If she wanted me to sit with her and sob about how much I miss Val and how unfair all of this is then believe me, I could do that too. But that’s not what she wants, so that’s not what I’m going to give her.
> 
> **Farkle:** I suppose. But she’s not exactly practicing what she’s preaching. She’s letting all of _us_ have normalcy --
> 
> **Mourner 2, interrupting:** _[ in tears ] _Such a gorgeous performance. You’re a gift.
> 
> **Maya, brightly:** Thank you so much.
> 
> **Farkle, once they’re gone: **But she’s not taking any of it for herself. She’s isolating.
> 
> **Maya: **Tell me something I don’t know.

Zay disrupts the conversation next, just as Farkle gets a reminder on his phone. Glancing at the screen, he sees that he has thirty minutes until his audition at the Los Angeles Theatre… if he decides he’s going to do it. He awkwardly starts to excuse himself, but Zay provides enough of a distraction anyway.

> **Zay: **So, I don’t want to alarm you, and I know this is a serious situation and definitely not the time, but… Ariana Grande is here.
> 
> **Maya, ungodly:** _WHAT?!_

Farkle uses the hysteria as his moment to escape, jogging towards the sidewalk to hail an Uber.

**INT. FUNERAL SERVICE - DAY**

Other mourners are still inside the home, Riley and Lucas amongst them. Riley is signing the funeral registry for the both of them, taking her time to figure out what to say. She isn’t sure whether Isadora is going to end up with it or not, but she wants it to be clear how much it meant for them to be there for her.

Lucas is letting her handle it, looking at the photo of Valerie instead. It’s evident he has just as many mixed feelings about it as Isadora, knowing he should be respectful and honor her now that she’s gone but unable to let go of everything she did while she was alive. Riley snaps him out of it when she finishes their signature, starting to speak.

> **Riley: **I don’t know, I just can’t wrap my head around it. Death is… so prevalent to the natural order of things, and distinctly unavoidable, but it’s like, you don’t think about it until it’s hitting you. And you never know -- I mean, there’s no way to predict this sort of thing. It’s not about age. It’s not about health. The healthiest person in the world could step off the curb at the wrong time and get rammed by a semi and just like that, it’s over. And it’s like, how are you supposed to grapple with that? That anyone -- anyone you care about, or yourself -- in just one instance could be… but I guess that’s life, isn’t it? _[ flatly ] _The endless and unstoppable march of time towards a definite end.

Lucas is watching her as she rambles, expression soft. She realizes he isn’t saying much, glancing at him and catching the look on his face.

> **Riley:** It’s like, I just don’t know how we’re supposed to… _[ looking at him ] _What?
> 
> **Lucas, quietly: **You’re so beautiful.

Oh. Odd timing, maybe, but then maybe that’s exactly it. _That’s_ how we keep going in spite of the guarantee of an end -- because the human experience of feeling and exploring and _loving_ is so beautiful in the mean time. Life is short, and it ends, but that doesn’t make it not worth living.

Riley smiles bashfully, looking back towards the guest registry. Lucas clears his throat, dipping his head down and trying to move past the unintentional emotional outburst. Sorry, buddy, you can’t take a lovesick declaration like that back!

**EXT. FUNERAL SERVICE - RECEPTION - DAY**

Back outside, Isadora wanders towards an elegant display of Valerie’s life through pictures. Although some feature her career, there are many from her childhood and home life, showing her as a real person rather than just a pop idol.

An elderly couple stand together going through the photos, crying and holding each other. When Isadora approaches, their attention moves to her, and the woman gasps. She clutches onto Isadora’s hands, seemingly unaware of the way Isadora tenses in response. We can’t help but notice the resemblance between the couple standing before Isadora and Valerie’s parents in some of the pictures...

> **Elizabeth:** Oh, Isadora, my apo… I am so sorry this has happened.

Oh, yeah, celebrities have parents too. DANILO and ELIZABETH DE LA CRUZ, Valerie’s parents and Isadora’s grandparents -- who until now, she’d never officially connected with. Isadora gives a tight smile, unsure of what else to do.

Her grandmother pulls her into a hug, which her grandfather soon joins. When they let go, both are wiping tears from their eyes. Elizabeth still holds Isadora’s hands, smiling sympathetically.

> **Danilo: **We were never able to get to know you, but perhaps if this tragedy can give us anything, it’s each other.
> 
> **Elizabeth: **We would love to get to know you more, Isadora.

That’s nice, but it’s a lot to absorb when there’s already too much to process. Isadora pulls her hands from Elizabeth, stammering over her words.

> **Isadora: **Um, that’s very nice… I have to… thank you.

She rushes away, not sparing a glance to anyone as she escapes.

**INT. UBER - MOVING - DAY**

Farkle is having a stressful time of his own. He’s jammed in LA traffic, naturally, the clock ticking closer and closer to his audition. In quick cuts demonstrating his five stages of grief (“Never thought I’d miss Manhattan drivers!”), the moment they get close enough Farkle opts to just make a break for it. He pushes out of the Uber in standstill traffic and takes off at a run towards the Los Angeles Theatre.

**EXT. DOWNTOWN LOS ANGELES - DAY**

Farkle tears through the streets in his funeral best, running harder than he’s ran in his entire life. He weaves through tourists, dodges businessmen, accidentally rams into a homeless man. He apologizes, forking over whatever he has in his pocket as compensation -- which, being a Minkus, happens to be a one hundred dollar bill.

> **Homeless man, dazed:** … thank you, crazy white boy!

**EXT. LOS ANGELES THEATRE - DAY**

Farkle makes it outside the theatre with only a minute to spare, stopping outside the doors and taking a moment to compose himself. He’s overdressed for an audition, and definitely sweaty, but it’ll have to do. He reinstates his Farkle Minkus confidence, marching through the doors...

**INT. LOS ANGELES THEATRE - STAGE - DAY**

And through the wings, where he makes his way front and center stage. Gearing up to perform on the stage he was never meant to be on for the second time in just a couple of days.

This time, Turner is joined by a couple of other CREATIVE EXECUTIVES. One of them comments on Farkle’s surprisingly formal attire, which he attempts to play off.

> **Farkle:** I like to deliver my best.

Turner asks what he’s planning on performing for them today, in spite of the short notice. Farkle claims he has plenty of songs in his repertoire, but there’s one better suited to right now than anything else he can think of. He’ll be performing “Being Alive,” from the seminal Broadway classic, _Company_.

As the pianist gets set up with the sheet music from a hefty binder, the third executive asks if Farkle is sure he can handle that number. It’s one of the best, but most challenging, in the Broadway songbook. Not to mention captures a complicated, deep emotional subject for someone so young to try and emulate. Farkle exhales, leveling his gaze.

> **Farkle: **Ma’am, I assure you, I know exactly what it’s all about.

Big promises to keep. The group falls silent and Turner gestures for Farkle to take over. Farkle takes another deep breath, then nods to the pianist.

* * *

**Song Cue ♫ ♪ “Being Alive” as performed by _Company_ Original Broadway Cast || Performed by Farkle Minkus**

_**[** Lyrics specific to characters -- follow along [here](https://docs.google.com/document/d/1y54iy3M6Ca2mEfoUa2kHoFYz73HgX_aFBYZuRl729nY/edit?usp=sharing)! **]**_

And boy, does Farkle Xavier Minkus keep those promises. Farkle has given many performances in the last two seasons, in a wide range of genres, intensity, and emotional authenticity. It’s hard for any number to match the emotional rawness of “Santa Fe” (207), but this rendition surpasses it solely due to the catharsis tied into it.

In keeping with many of his better numbers, this performance is supplemented by a chorus of imaginary friends in his head. The rest of our main cast pops in on stage to join Farkle throughout the audition (including ANGELA MOORE, Stuart, and JENNIFER MINKUS), as indicated by the lyric sheet. They give him encouragement, urge him to dig deeper, prompt his energy and growth and confidence as they have since the show began. Only this is a far cry from “It’s All Over,” (111), as this time they’re not tearing him down. They’re rallying behind him, rather than against him.

And that’s all part of the power of the performance. It’s just an audition to Turner and the creatives, but to us, we know the history. We know how we got here. This is not just Farkle expressing his complex emotion through song -- this is Farkle learning a hard lesson, clawing himself out of the darkness, and _changing_ to become something different. He went to Hell and back this season, and whether he’ll be _better_ remains to be seen, but he’s not who he was before.

So when he belts out that last “_being alive_,” we know how important it is. We know the weight it carries, because there was a time when he almost gave it up. We know just how deeply Farkle understands the beauty and fear and challenge and _privilege_ of being alive.

* * *

For what it’s worth, it seems the creative team might also have gotten the message. They’re thoughtfully quiet as Farkle finishes the performance, jotting down notes but unable to break the silence. Farkle stands triumphantly, out of breath, before he manages a slight bow and grateful nod.

> **Farkle: **Thank you for your time.

Then he exits the stage without looking back, disappearing into the darkness of the wings.

**EXT. FUNERAL SERVICE - DAY**

Eric searches for Isadora. He asks a couple people if they’ve seen her, but no one has.

He heads out of the reception space deeper into the gardens, where the sound of chatter is distant and muffled. Instead, a quiet sniffle can be heard. Eric follows it, and finds Isadora on a bench hidden by shrubbery. A perfect little hiding spot.

Isadora looks up as he approaches. She’s not crying, but she’s close. The hazy look in her eyes shows her current shutdown state. 

> **Eric:** I know you’re overwhelmed, so I’m not going to say anything, I’m just going to sit with you. That okay?

Isadora doesn’t answer, but she shuffles so that Eric can sit beside her. They welcome the peace of the garden. Voice barely above a whisper, Isadora starts to talk about how she doesn’t know how to process her mom’s death when it feels as though Valerie has just abandoned her again.

> **Eric: **Abandoned you? Isadora, that’s not what… your mom loved you.
> 
> **Isadora: **How would you know? You only knew the pretty polished version of herself that she presented to the world. But that’s not who she was, was it? She was a drug addict, a bad mother… she was nothing more than a shallow celebrity. Just like everyone else out there, acting as if they lost their prized show dog.

Isadora gestures back towards the reception. Eric sighs.

> **Eric: **You’re right, I didn’t know your mom. And neither did you, not properly. But it was obvious she wanted you to know the real her -- she wanted to share her life with you. Maybe you should take a look around her house while we’re here. Try to get a better picture of her in your mind.
> 
> **Isadora: **What’s the point? She’s gone.
> 
> **Eric:** You can learn more about people even after death.
> 
> **Isadora, bitter: **Her cause of death tells me everything that I need to know.

Eric shakes his head. Quiet settles on them again for a moment.

> **Eric: **I think you’re afraid to love your mom because that means you’ve lost someone special to you. But you can’t shut off your emotions and pretend you never had a relationship with her. _[ a beat ] _You’re allowed to love someone in spite of their flaws.

Something about the last sentiment hits Isadora. She frowns, the full impact not yet made, but beginning to stew in her subconscious.

> **Eric: **Just give it some thought, okay?
> 
> **Isadora: **Okay.

After one final sympathetic smile, Eric stands up and heads back. He asks Isadora if she’s coming, but she shakes her head. She needs to be on her own for a bit longer.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

Bright and early the next morning, almost the crack of dawn. Sunlight is just beginning to filter into the window. On the bed, Lucas and Riley are knocked, having fallen asleep while talking late last night. Riley is leaning against him, his arm around her shoulders.

Zay is crashed on the chaise chair, taking his due turn and avoiding another tumble. Maya creeps into the room, making a disgusted face at Riley and Lucas. She crawls along the edge of the bed, leaning over Zay and poking him awake without disturbing the others. He swats at her.

> **Maya:** Zayby. Get up. I have a surprise.
> 
> **Zay:** Go away, blonde devil. Don’t you sleep?
> 
> **Maya:** Not when there’s glamor afoot. Come on.

She nudges him until he nearly rolls off the chaise, lightly cursing. Not the fuck again. Maya grins as he finally relents, agreeing to come with her.

> **Maya, in a whisper:** That’s the spirit. Man of my own heart.
> 
> **Zay: **That’s the most insulting thing you’ve ever said to me.

**INT. BEVERLY HILLS HOTEL - ROOM C - BALCONY - DAY**

Eric is also up early, pacing while on the phone with Theresa. He’s trying to negotiate if there’s any way they can just hold Valerie’s estate for a longer stretch of time. Isadora isn’t in a place to want to explore it right now, but he knows if she misses it she’ll regret it later. If they could just have a little more time to ease into the idea…

Unfortunately, their hands are tied. Not to mention Isadora isn’t conveniently located, and they’d hate for her to have to make a whole other trip out here to do something so emotionally taxing. If she’s going to go through Valerie’s things, it has to be now.

Eric accepts the defeat, thanking her either way. Theresa claims that she’ll hold off on sealing Isadora’s agreement to basically sign away all of it until they leave, so she has a little more time to truly consider it.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

This morning, though, Isadora isn’t considering anything. She’s still asleep when everyone else has gotten up for the morning, Riley and Lucas quietly entering the room to find Farkle reading _Pride & Prejudice_ on the chaise at the foot of her bed. They all figure Isadora is going to be catching up on rest after the draining day yesterday.

Farkle claims he can hang around with her while Riley and Lucas go do something in LA. They’ve already given up enough of their time, and he’s happy to contribute his fair share.

> **Riley:** Oh, well, we really don’t mind --
> 
> **Farkle: **Riley, all you have done this trip is be egregiously self-sacrificing and make the rest of us feel guilty for not being so self-sacrificing. Then when I want to be, you can’t accept the charity? _[ a beat ] _Be realistic. There has to be _something_ you all want to do.
> 
> **Lucas, with a shrug: **I mean, it’s not like --
> 
> **Riley: **Well, you did mention the LA Zoo --  

> 
> **Farkle:** Of course._ [ rolling his eyes ]_ A historic and cultural epicenter at your fingertips, and you want to go to the zoo.

Lucas seems like he has some choice words for Farkle, but Farkle avoids them by reiterating his stance that he’s fine with staying with Isadora. They should go do whatever they want to do in the city while they’re still here -- even if it’s as nerdy as going to the zoo.

> **Lucas:** Nerdy? Coming from you?

Riley defuses the friction before it can spark, thanking Farkle and directing Lucas to go get ready. She asks Farkle one more time if he’s sure, but he merely waves her off.

Once he’s alone again, Farkle glances to Isadora sleeping. Then he looks to his phone, hopeful for any news on the audition.

Nothing. He releases a sigh, stretching off the edge of the chaise.

**EXT. RODEO DRIVE - DAY**

Maya and Zay are making their way along the glamorous streets of Beverly Hills. They’re having their _Pretty Woman_ moment, sipping trendy Los Angeles smoothies infused with charcoal and vitamins as they saunter down the sidewalk and window shop the expensive brands.

> **Zay: **I feel like I can taste the charcoal. _[ another sip ]_ Are we supposed to be able to taste it?
> 
> **Maya: **Take it in, Zay. This is it -- the height of elegance. The epitome of fashion. Our future, laid out before us.
> 
> **Zay:** Way to harpoon 5th Avenue. What kind of New Yorker are you?

Maya nudges him, but then acknowledges his point. She lowers her voice to a whisper, claiming she has to tell him a dark secret.

> **Maya:** I always thought New York City was it. Broadway was the only way, and I wouldn’t be fulfilled anywhere else. But I don’t know… ever since we’ve been here, I could see myself here. An Angelino, absorbing the sunlight and mingling with the cultural elite. It’s a different world out here, but it’s not worse. Just another avenue towards the dream.

So maybe the plan isn’t as iron-clad as Maya always thought. Zay grants her that freedom, claiming they’ve got a whole year to figure this shit out of where they want to end up. For him, he only knows one thing.

> **Zay:** Next year, I’m focusing on me. I’m pulling a Maya Hart, tunnel visioning my future. All the rest of it, romance and all that bullshit, it’s not worth it. I could be doing way better things with my time.
> 
> **Maya: **Yeah, getting dumped will do that to you.

Maya takes a pointed sip of her smoothie. Zay is stunned, wondering what the hell she’s talking about -- only he blurts it out in a way that confirms her theories, rather than seeming innocent. Maya rolls her eyes.

> **Maya: **Oh, come on, Babs. Was I not supposed to know you’ve been canoodling with Charlie like all year long? You two had the most _palpable_ non-antagonistic tension at Triple A. It’s like I could _see_ the little thirst hormones buzzing between you. I’m self-centered, not blind.
> 
> **Zay, grimacing:** Don’t tell Charlie that. I think he’d have a heart attack.

Not-so-secret trysts aside, Maya agrees with his assessment. Next year is the time when things really matter, and Zay is too bright a star not to shine with everything he’s got. If that takes a little single-mindedness, so be it. Maya links her arm with his.

> **Maya: **We’re going places, Zay Babineaux. You and me, our names are going to be in lights soon enough. Mark my words.

Zay will drink to that. They clink their smoothies together in celebration.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

Isadora is up and moving, having gotten herself showered and dressed but not having the energy for much else. She crashes onto the bed as Farkle reenters from the other room, sarcastically complimenting her finally managing to get up.

> **Isadora:** You’re charming. No pity to give, hm?
> 
> **Farkle:** Tit for tat. If you can be snarky to me after I nearly die, I can dish a little back.

Fair enough. Farkle perches himself on the bed while Isadora pushes herself upright. He questions if she really plans to just lay around all day. When she states she doesn’t have any other bright ideas, nor the motivation to do much else, Farkle doesn’t accept it. He states that sitting around isn’t going to do any good. She needs to move. Get active, body and mind.

> **Farkle: **Doing nothing seems like the solution, but it doesn’t help. Believe me, I would know.
> 
> **Isadora:** So, what? What’s your grand proposal, then?
> 
> **Farkle: **First? Getting you out of this hotel. I know it’s Maya’s sanctuary, or whatever, but it’s been your prison basically since we got here. You need to get out, get your mind off it all. Think about something else for a change.

Although he’s being honest, it seems as though Farkle isn’t just talking about mourning Valerie. He’s got things he wants to forget for a minute too, although Isadora doesn’t notice. She doesn’t seem convinced.

It’s going to take a little more nudging to get her going. Thankfully, Farkle has never been short of theatricality to get a job done…

* * *

**Song Cue ♫ ♪ “Electric Love” as performed by BORNE || Performed by Farkle Minkus**

Farkle gradually launches into the upbeat tune, channeling all of its electric energy into getting Isadora up and moving. He needles at her until she relents, rolling her eyes and climbing out of bed. Farkle dances around the room up through the first verse, leading the way into the hall…

**INT. BEVERLY HILLS HOTEL - HALLWAY - DAY**

And continuing the parade into the chorus. It’s a fun change of pace from Farkle’s usual musical selections, a little pop thrown into the mix of Broadway classics and cynical alternative.

**EXT. LOS ANGELES - DAY**

Farkle continues the march out into the city, Isadora trailing behind him and eyeing him with her usual level of exasperation and confusion. Still, there’s a bit of that fascination -- and perhaps endearment? -- thrown in as well, and as the song progresses and they weave their way through the Los Angeles streets, it’s as if we can see some of the weight lifting off her shoulders.

Definitely putting other things on her mind, no doubt about that.

* * *

**EXT. BEVERLY HILLS HOTEL - POOL SIDE - DAY**

The pool is more crowded in the afternoon than late evening, families and guests enjoying the LA sunshine. Jack is as well… sort of. He’s seated at a table safely away from the water, typing away on his computer and sorting through AAA work emails.

From the expression on his face, they’re not all good. We get a glimpse of the one he’s reading, detailing some new leadership roles that will be implemented via the school board the following year. Just as Jack is digging into it, Eric arrives with drinks and plops down in the seat across from him. He gently shuts his laptop.

> **Eric: **This trip isn’t about work, remember? Margarita?

Jack happily accepts the drink, but he opts to be candid with Eric. He gives him the low down of what Evelyn told him after the school board trial, how there is going to be inevitable change coming to Triple A next year. He doesn’t know what that entails quite yet, but he gets the feeling it’s not going to be good.

Eric absorbs this grim reality, then offers his best optimistic smile.

> **Eric: **Well. Good thing we got this mutual partnership thing figured out just in time.

Point made -- whatever is headed their way, they’ll face it together. For real, this time. Jack exhales half a laugh, nodding and raising his glass in mock cheers.

Bring it on, school board. Bring it on.

**EXT. LOS ANGELES - DAY**

Isadora and Farkle leave the Getty, rather pretentious people pushing through the doors around them. They start to walk down the sunny Los Angeles street, Isadora looking through a pamphlet from the museum. She eventually stuffs it into her pocket when she sees that there’s nothing of interest in it.

Farkle had been peering down at the pamphlet, so he moves his focus to Isadora. There’s the ghost of a smile on her face, worries temporarily forgotten. It’s nice to see. She catches him looking and gives him a funny look. He looks away, but now they’re both properly smiling.

> **Isadora, softly: **You’ve somehow managed to actually improve my mood. Thank you. I needed this... I needed to stop wallowing.

Farkle’s smile brightens. He asks her if there’s anything else she wants to do while they’re out. She ponders on it, and then gets an idea.

> **Isadora:** Maybe. But I think I need to get something first.

Intriguing. Farkle raises his eyebrows, Isadora not explaining further as she leads the way.

**EXT. LOS ANGELES ZOO - DAY**

Nerdy as it may be, Riley and Lucas are clearly having a good time at the zoo together. They’re laughing about something inane as they approach the giraffe pen, Riley brightening at the prospect of feeding them. She jogs up to the zookeeper who is handling the food, swapping a $5 for the chance to interact with the animals.

Lucas saunters up to join her, making an offhand comment about how if this is a date, then he probably should’ve paid for that. Not that he exactly has the spare funds to do so. Riley gives him a look, elbowing him playfully as they start walking towards the feeding spot.

> **Riley: **The guy paying for everything is a dated convention anyway. Besides, like I’ve said before, I’m nothing if not --
> 
> **Lucas:** Unconventional. Believe me, I know.

Riley beams. She goes on to point out that their relationship in it of itself has been far from conventional, and she doesn’t see why that should change just because the technicalities of their dynamic do. As long as they maintain the foundation of what their relationship has always been based on -- friendship, mutual respect -- then the rest will fall into place.

Lucas nods along, but it’s clear he’s not as self-assured as Riley. She glances at him, growing more serious as she pulls them to the side of the giraffe pen so they can actually talk for a second. She explains that she’s been trying to find a way to say this basically since the last week of school, but there’s never been a good time or she keeps getting interrupted.

> **Lucas, deadpan: **You’re not... already breaking up with me? Think that would be a world record.

It’s said like a joke, but Lucas doesn’t deliver it with his usual level of aloof confidence. Riley nips that notion in the bud, shaking her head emphatically and claiming it’s not about that.

> **Riley:** Sort of the opposite, actually --
> 
> **Lucas:** The… opposite of breaking up?
> 
> **Riley:** Look, I just wanted to be clear -- I know so much has happened in the last year. All part of our unconventionality. _[ a beat ] _Everything with Farkle’s video and the things he said, I just… you _know_ that’s not true, right? It never was. I know it doesn’t matter anymore, but I want you to know that I never saw you that way. You know that, right?

Riley holds eye contact, not letting him look away. She props her hand with the giraffe food on the pen fence, shuffling from foot to foot as she waits for his response.

The moment is heavy between them, Lucas taking a long moment to look at her. If she had asked him this question earlier, even just a couple months ago, his thought process would be different. His answer would be too.

But so much can change in such a short amount of time.

> **Lucas:** I do. _[ a beat ] _Now.

That has to be good enough. Neither of them can change what happened in the past, even if they’d like to. All they can do is be present in the here and now, open to whatever the future might hold.

Gently, Lucas reaches out and takes her free hand. Riley glances down at their joined fingers, then gives him a soft smile. They drift a little closer together…

When they’re startled by a giraffe, dipping its head down between them to try and get the food from Riley’s hand. Both of them jump and Riley shrieks, before bursting into laughter. Lucas starts laughing too, catching her when she basically stumbles into him.

I don’t know what you were expecting, Riley. The giraffes are hungry! Once they reorient themselves, Riley reaches out to give the giraffe the food.

Lucas gets a text, checking it as Riley finishes interacting with their new zoo friend. She asks if everything is okay, and he states that Isadora texted him asking if they could talk when they got home. Nothing else.

Much to think about. As the soothing sound of ocean waves float in...

**EXT. BEACH - DAY**

One of Los Angeles’ many coastal beaches, although not one of the more popular crowded ones like Santa Monica. This one has fewer patrons dotting the shoreline, and seems to be a quieter, more local bunch. A secret spot for those who know the area well.

The kind of thing Valerie would know.

Isadora and Farkle walk along the water, the latter carrying both pairs of shoes while Isadora holds a special canister in her hands. It doesn’t take long to realize what it is, as Isadora explains to Farkle the reasons why her mother wanted to be cremated and her exact desires for where she wanted her ashes to be spread.

> **Isadora: **Of course, she’s one of the people who literally wanted her ashes thrown into the ocean.
> 
> **Farkle: **I’d expect nothing less.

Even though she’s carrying out her wishes, it’s clear Isadora is still torn up about it. She avoids eye contact with Farkle as she tentatively expresses her hesitation. She can’t seem to get over the notion that like… yes, her mother is dead, and she’s devastated. But on the other hand, she’s angry at her, too. Because it was her own choices that caused all this, that took her away when they were so... close. Valerie made a stupid decision, and it took her away for good.

> **Farkle:** I don’t know about that.
> 
> **Isadora: **Oh, okay. Thanks. Remind me never to open up to you again.
> 
> **Farkle: **No, I mean, I’m not saying what you’re feeling isn’t… valid, or whatever Eric would say. I just think it’s a bit coarse to put all of the blame on her for something she couldn’t exactly control.
> 
> **Isadora: **I don’t buy that.
> 
> **Farkle:** Would you have blamed me for what I did? Had it worked?

Isadora stares at him, stunned. Farkle is calm, though, genuinely posing the question.

> **Isadora: **That’s… that’s different. You were sick.
> 
> **Farkle: **So was she.

Isadora holds his gaze as the sentiment sinks in. Then she looks away, embarrassed. Farkle doesn’t push it, granting her a change of subject.

> **Farkle: **This whole thing has been kind of surreal, honestly. Seeing all of this grief, thinking that… I mean, just a couple months ago, it could’ve…

_Been me. _Isadora doesn’t push him, letting him finish the thought at his own pace. He never gets there, but he continues a different train of thought.

> **Farkle: **I’m glad it’s not. I’m happy I’m still here, which I guess is progress. I just know it was difficult enough when it was an active choice I was making, because I thought it would make everything better. _[ a beat ]_ Can’t imagine if it had been an accident.

Farkle’s made his point. Isadora is going to need time -- a _lot_ of time -- to process everything she’s feeling about it, but his commentary did offer a fresh perspective.

The two of them stop in the middle of the beach, ocean running over their bare feet. Isadora opens the tiny urn, hesitating for a moment as she stares down at it.

Then she tilts it over, spreading her mother’s ashes into the ocean to be carried away by the waves. As she wished... even if she expected that moment to be much further off in the future.

Isadora closes the urn and stands up straighter, releasing a deep sigh. She and Farkle stand together and look out towards the horizon, the ocean seeming to stretch on forever.

**INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT**

Isadora is starting to pack her things, Maya, Riley, and Zay’s laughter echoing from the other room. Lucas pokes his head in, asking what she wanted to talk to him about. Isadora nods, waving him in and pushing aside her things.

They situate on the bed, Isadora taking a moment to compose her thoughts. She explains that after thinking about it, and a weird -- but enjoyable -- day, she’s decided she wants to go to her mom’s estate tomorrow. It’s the last day she’ll be able to, and although she isn’t sure she’ll like what she finds, she feels like she owes it to Valerie.

> **Lucas, protectively: **You don’t owe her anything. I’m not saying --
> 
> **Isadora:** I get it. I get what you mean. And you’re right, I agree. But it’s not just about that._ [ with a sigh ] _I think I owe it to myself. Because if I don’t go and see this through, then I am going to spend the rest of my life wondering about it. It’s like… the ultimate ghosting, and you know what that does to me.
> 
> **Lucas:** Yeah.
> 
> **Isadora:** So I’m going to do it. I’ll go, I’ll take a look, and then it’ll be done. We can all move on.

Easier said than done, but point made. Isadora inhales another deep breath, meeting his eyes.

> **Isadora:** Just thought it might be better if you were there with me.

Lucas contemplates. He’s never liked Valerie, and complicated feelings aside in current circumstances, that will likely never change.

But he loves Isadora. She’s his family, and they’ve always been in each other’s corners. If she can endure his epic spin out from the last year, then he can certainly spare an afternoon to give her support on what will probably be one of the most difficult things she ever does.

After a moment, he nods. Isadora offers a half a smile, Lucas returning it.

**EXT. BEVERLY HILLS HOTEL - POOL SIDE - DAY**

On their last full day, the performers are spending it enjoying the California weather and sunshine. Maya and Zay are soaking up the sun, Maya’s sunglasses on and exuding full diva ambience. Farkle sits by the pool while Riley actually enjoys the water, the group of them chatting. Farkle says something snarky and Riley splashes water at him, causing him to get up and retreat back towards his stuff.

When he approaches his chair, he discovers a voicemail on his phone. His expression shifts in an instant, snatching his phone off the chair.

> **Farkle:** Be right back.
> 
> **Maya: **Where are you going?
> 
> **Farkle:** Gotta… I have to make a call.
> 
> **Zay: **Who the hell is calling you?

Fair question, Zay. Farkle doesn’t respond, jogging towards the hotel. Riley watches him go, raising her eyebrows at the other two. Maya shrugs, flipping her sunglasses back on.

**INT. BEVERLY HILLS HOTEL - HALL - DAY**

Farkle ducks inside, narrowly avoiding ramming into a posh couple of tourists. He lifts the phone to his ear, playing the voicemail that is in fact from Turner regarding his audition.

And… **they want him to join their production**. The creative team was quite impressed with his talent, and if Farkle thinks he wants a career in performing, this might be the perfect start. Turner gives him details about how the production will rehearse the summer and then run through the fall -- right through senior year.

If Farkle is interested, he should give him a call and they’ll meet up to discuss next steps. Farkle is stunned, frozen as the voicemail ends and he’s suddenly faced with a huge decision.

Stay with his friends (which he just got back) and finish his time at AAA, or _follow the dream_?

* * *

**Song Cue ♫ ♪ “Sober” as performed by Demi Lovato || Performed by Valerie De La Cruz (vocals only)**

**EXT. VALERIE’S ESTATE - NIGHT**

The gentle piano guides us into the evening at Valerie’s Hollywood mansion. Theresa unlocks the door for Isadora, Eric and Lucas, but doesn’t go inside herself.

**INT. VALERIE’S ESTATE - DAY**

As Valerie’s heart wrenching vocals kick in, we see her home as she left it -- glamorous in every sense of the word, but also lived in. Her things are dotted around, left waiting to be used again.

_Call me when it’s over  
‘Cause I’m dying inside_

**INT. VALERIE’S ESTATE - STUDY - NIGHT**

Isadora takes shaky breaths, Eric and Lucas closeby for emotional support should she need it. She goes into Valerie’s office space, where a marble desk is covered in legal documents relating to Valerie’s move to New York and gaining custody of Isadora. Isadora shifts through the papers, tears welling in her eyes.

_Sometimes I just wanna cave  
And I don’t wanna fight  
I try and I try and I try and I try  
Just hold me, I’m lonely_

Lucas checks she’s okay. She nods, moving onto another room.

**INT. VALERIE’S ESTATE - VALERIE’S BEDROOM - NIGHT**

Isadora hesitates before entering. It’s as luxurious as you would expect. The things that stick out to Isadora, though, are the simple, nostalgic ones. A dusty china doll on a shelf with cracks over her face; a baby blanket is placed across an armchair, “Isadora” delicately stitched onto it.

Isadora picks up the blanket and feels the soft texture, holding it close. The tears are falling now, no longer hidden behind iron-clad walls.

_I’m sorry to my baby girl  
For the wounds I left so deep  
For all the empty promises I couldn’t keep_

A frame holding a wrinkled photograph sits on a bedside table. Isadora picks it up -- Valerie in her 20s, dressed simply and standing in a small apartment. In her arms is a baby who she smiles down at with adoration in her eyes.

Unable to look any longer, Isadora puts it down and turns to go to Lucas. He’s already right behind her.

_We’ve been down this road before  
I’m so sorry, I’m not sober anymore_

She collapses into his arms, hugging him tighter than she ever has before. Sobs wrack through her, all of the feelings she’s numbed herself to finally escaping. We don’t hear her cries, but she’s practically screaming with grief. She crouches down, Lucas going with her to keep his arms wrapped around her. In the doorway, Eric has to turn away, the sight of Isadora completely breaking down too much to bear.

_I promise I’ll get help  
It wasn’t my intention  
I’m sorry to myself..._

* * *

**EXT. LOS ANGELES COFFEE SHOP - DAY**

Turner is seated at an outdoor table, finishing up a coffee. He raises his gaze when Farkle approaches from down the street, obviously coming to discuss the casting opportunity. Farkle thanks him for coming to meet with him, sliding into the chair across from him. Turner appreciates his professionalism in setting the meeting.

Their pleasant discussion doesn’t last long, though, because Farkle isn’t there to say what Turner wants to hear. Although he’s honored by the offer and can’t imagine a better opportunity… Farkle can’t accept the offer. Not right now.

Turner doesn’t hide his disappointment, but he respects the choice. He inquires as to why Farkle made the decision, which causes him to pause. After a moment, Farkle explains that while he’s always been consumed with chasing the dream, he’s learned pretty recently that there’s a lot more to it than that. It can’t just be about the dream -- there has to be more, otherwise, it’s empty. And there’s a lot back home that he needs to cultivate before he goes leaping into the great unknown. Not to mention...

> **Farkle: **I was raised by a businessman, through and through. My father isn’t perfect, and he taught me some habits I’m probably better off without. But not all of them are without merit. One of the most important would be that when you commit to something, you see it through to the end. Right now… _[ thinking about home ]_ I’ve got some things I need to see through to the end. After that, who knows, but for now… I need to stay right where I am.

Fair enough. Turner concedes, stating that he does admire his maturity for his age.

> **Farkle:** Trust me, it’s relatively new.

Either way, Turner believes he has talent. Depending on where he ends up once he’s done “seeing things through,” he hopes he’ll consider reaching out to catch up. Turner extends a business card in his direction.

> **Turner: **If you find yourself back out in LA, be sure to give me a call.

Farkle accepts the card, looking at it. Representing all of the opportunities that might await him in the future… when the time comes.

> **Eric, pre-lap:** I have no idea how to handle this.

**INT. BEVERLY HILLS HOTEL - ROOM C - DAY**

Jack is in the midst of finishing packing for their return flight that evening. Eric is pacing, a bundle of nerves now that the adrenaline of getting Isadora through the trip is waning. He wrings his hands.

> **Eric: **I promised Valerie that I would take care of Isa, and I want to. I know I need to. She needs the safety net, but… what if I’m not cut out for it?
> 
> **Jack: **Eric --
> 
> **Eric: **They don’t give you training for this sort of thing. This isn’t something you can study. I’ve never been a parent. What if I’m not -- what if I’m not what she needs?

Jack steps away from his packing, coming to join Eric and stopping his pacing. He takes his shoulders to halt him, waiting for him to meet his eyes.

> **Jack:** Eric. Take a breath.

Eric does as he’s told. Jack waits a moment, searching for the words to make this better. They aren’t easy to find.

> **Jack: **You’re right, there’s no playbook for this sort of thing. You’re going to have to figure it out as you go, so good thing you’re great at improv. _[ off Eric’s nervous laugh ] _But there is no one better suited for this challenge than you. Regardless of what happens, Isadora is going to know you have her back. That she’s not alone.

Eric nods, trying to accept the words as truth. Jack steps closer, shifting one of his hands to the back of Eric’s neck. That kind of hold men do when they’re sharing intimacy, but can’t do it like normal people.

> **Jack: **Neither are you. Like you said, we’re going to figure it out together. You’re not going to face it alone.

Eric locks eyes with Jack, really taking him in. They hold each other’s gaze for a long moment.

Then Eric sighs, leaning forward and pressing his forehead against Jack’s. The two stay close together, grounding to one another. Preparing for what happens next, distinctly together.

As the melodious hum of our final performance floats in…

* * *

**Song Cue ♫ ♪ “Endless Night” as performed by _The Lion King _Original Broadway Cast || Performed by Isadora De La Cruz (feat. AAA Juniors)**

**EXT. LOS ANGELES - DAY**

Shots of the cinematic Los Angeles, in the midst of early morning sunrise.

**INT. BEVERLY HILLS HOTEL - ROOM A - DAY**

For the first time all episode, Isadora takes the leading vocals on this grief-stricken soliloquy. She starts it alone in her hotel room, looking out the window towards the early morning scape of Beverly Hills. The lyrics aptly highlight the struggle she’s feeling to come to terms with Valerie’s absence, how isolating her loss can make the world feel.

_You promised you'd be there whenever I needed you  
Whenever I call your name you're not anywhere…_

Isadora finishes the second chorus, coming to look at herself in the mirror and lingering on her star necklace.

_I'm trying to hold on, just waiting to hear your voice  
One word, just a word will do to end this nightmare…_

But the truth is she’s not alone. Far from it. Riley appears in the reflection and comes to join her, gently touching her elbow as the song begins it’s tonal shift about halfway through. Isadora returns half a smile, leading the way towards the other room.

**INT. BEVERLY HILLS HOTEL - ROOM B - DAY**

The rest of the crew is waiting there, dressed for a journey. Their bags are stacked in the corner, all packed up to go. But they’re not heading to the airport quite yet -- there’s one more thing they want to do.

Isadora passes them all and steps out the door first, Riley and Lucas following after her. The other three follow suit, Maya being the last one out as she closes the door.

**EXT. HOLLYWOOD SIGN HIKE - DAY**

Maya is the first one leading the march as the six of them do the coveted Hollywood sign hiking trail, taking advantage of the early morning cool to take in the view of Los Angeles one last time. We watch them weave their way through the paths and climb around the trail as the music slowly builds in catharsis. Repeating the hopeful psychology that has gotten them through the season, same as when Maya sang _“Winter can’t hold back the spring, no matter how dark it may seem”_ back in 208.

_I know that the night must end and that the sun will rise,  
I know that the clouds must clear and that the sun will shine._

Isadora stays on the lead vocal, growing more emotional as the music swells and they get closer and closer to the top of their uphill climb. Her riffs are impressive, demonstrating how far she’s come as a performer in the last two seasons.

And how far the six of them have come interpersonally cannot be understated. They’re helping one another as they make the strenuous trek, offering hands as they climb over roots and up rock sides. Farkle almost stumbles and Zay manages to stabilize him, patting his shoulder once he’s upright again. There’s no bickering, no sharp jabs, a far cry from 206 -- for now, they’re a team, finishing their final ascent out of the darkness of this year.

Right up to the highest point on the hike.

_The sun will rise…_

The six of them take in the breathtaking sight of Los Angeles in the midst of the sunrise, full of hope and promise and energy just about to come alive for another day. They inhale the fresh air, the new day, the entire future seemingly laid out before them. Facing whatever happens next, but not being so afraid of the change as they once were.

The six of them silhouetted against the rising sun is the last shot we see, fading to black.

** _END OF SEASON._ **

**Notes for the Chapter:**

> Wow. Here we are. Two complete seasons of AMBITION, almost exactly one year after the idea was first born. It was about this time last year that Esther came to me and said “I’m watching Victorious and now I’m thinking GMW arts school au,” and somehow, some way, we ended up here.
> 
> I never imagined we would get to this place, and I am eternally, wholeheartedly grateful.
> 
> Es and I were lucky that we had enough interest and passion in this idea to write even if no one else ever saw it. We were super lucky that we somehow magically clicked together and crafted an effective, epic writing partnership, even though we were working 7 - 8 time zones apart (depending on daylight savings, which is inconsistent cause time is fake). We were damn fortunate that we somehow just got each other, and our storytelling collaborative process allowed us to find all the best elements that worked and be able to constructively work through the things that didn’t, so that we could get all the way to episode 25 (26, if you count the Dasher Special – and you know we do). It feels surreal, but in the best way possible. Lucky for us, again, this is far from the end, and we’ve got a lot more story to tell from here.
> 
> But we were unimaginably lucky when it came to you all. We loved this story enough to do it anyway, but the reader engagement has been unlike anything we ever expected. You all took the time to give this kooky world a chance and then dove in full-throttle with us. You trusted us when we took risks, you laughed and emoted with us, you interacted with us even when we were on hiatus. I know I’ve made some incredible friends and formed some amazing relationships through this fake show, and it touches me in a way I could never articulate that it means so much to you all too. From the bottom of my heart, thank you for taking a chance on AMBITION. It would not be the same without you.
> 
> Special thank yous to our incredible beta team for the first two seasons, Katie, Rachel, and Divine. The show would not have ran as smoothly without them, and their contributions are weaved into the very fabric of the final product. Even though our team will be shifting somewhat going into the next season, this original team will always be a mini-family, and I’m thankful for each of you for taking a chance on jumping on this crazy project that was just a half-baked outline and a lot of excited chattering when we first pitched it to you all to join the fray. Thank you, thank you, thank you.
> 
> And of course, a quick shoutout to the AAAGC. You know who y’all are. You keep us motivated, you impress me every single day with your enthusiasm, support, and kindness. In the days where fatigue and apathy reigned supreme, you all reminded me how much this show means to people other than just me and Es, and how much fun it is. It has the power to bring people together – any writing does – and this group is evidence of that.
> 
> The final song of S2 was selected ages ago, but it feels even more fitting right now in the uncertain and scary times we’re in globally. Even though we obviously had no way of knowing how relevant it would be, I think many of the themes that arose from this season feel even more true a year later after we first jotted it all down. Be open to change. Support your friends in the light and the dark times. Look out for one another, and respond with optimism and kindness whenever possible.
> 
> The night must end, and the sun will rise. Together, I know, we will face what happens next.

**Works inspired by this one:**

  * [no love like your love](https://archiveofourown.org/works/21990202) by [quincywillows](https://archiveofourown.org/users/quincywillows/pseuds/quincywillows)
  * [write this love in stone](https://archiveofourown.org/works/19927405) by [quincywillows](https://archiveofourown.org/users/quincywillows/pseuds/quincywillows)
  * [love me even if it rain (love me even if it pain you)](https://archiveofourown.org/works/27194149) by [dizzybabineaux](https://archiveofourown.org/users/dizzybabineaux/pseuds/dizzybabineaux)
  * [i'm in love i'll say it twice (i'm in love)](https://archiveofourown.org/works/27360178) by [dizzybabineaux](https://archiveofourown.org/users/dizzybabineaux/pseuds/dizzybabineaux)


End file.
